SEPTEMBER 2011 • $5.00
JAZZ EDUCATION NETWORK
Focus Session: Two Chords, Many Possibilities
The Official Publicatio
Lessons Learned: The Official Publication Determining Repertoire, Part II of JAZZ EDUCATION NETWORK
The Official Publicatio The Official Publication of JAZZ EDUCATION NETWORK
The Official Publication of
JAZZ EDUCATION NETWORK
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THE JAZZ EDUCATOR'S MAGAZINE
Mastering music is about more than what happens in the practice room. It’s also about how you grow as a person. We give you the freedom to experiment, ﬁnd your own solutions, and evolve. But we also give you a structured and demanding curriculum that will test even the most talented musicians. You’ll be prepared to succeed in the world of music. Wherever it takes you. Learn more at berklee.edu/jazzed
WHERE MUSIC TAKES YOU
“It doesn’t matter how good our teaching methods are for improvisation or technique or whatever if nobody has access to it. And without making education available, I think the consumers start to disappear pretty quickly.”
GUEST EDITORIAL: WHERE ARE THE GIRLS? 16
Dr. Ariel Alexander takes a closer look at the factors that contribute to younger female instrumentalists being less apt to study jazz than their male counterparts.
WHEN HIGH TEACHING STANDARDS SHOW 22
Frequent JAZZed contributor Dr. Eugene Marlow reports from last spring’s NYC Jazz Festival Showcase at Jazz at Lincoln Center.
LESSONS LEARNED: ‘STANDARDS?’ – DETERMINING REPERTOIRE, PART II 28 CALEB CHAPMAN – YOUNGER LIONS 40
Caleb Chapman, one of the true standard-bearers for modern day jazz education, talks with us about his techniques for getting his students to perform at consistently high levels.
FOCUS SESSION: TWO CHORDS, MANY POSSIBILITIES 50
Noted educator, performer, and author Antonio J. Garcia looks at the improvisational opportunities afforded by two-chord progressions.
WATERSHED MOMENTS: BENNY GOODMAN 56
“Benny Goodman is Mobbed at the Paramount” – an excerpt from John R. Tumpak’s book, When Swing Was the Thing: Personality Profiles of the Big Band Era.
2 JAZZed September 2011
SEPTEMBER 2011 Volume 6, Number 5
GROUP PUBLISHER Sidney L. Davis email@example.com PUBLISHER Richard E. Kessel firstname.lastname@example.org Editorial Staff EDITOR Christian Wissmuller email@example.com
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departments PUBLISHER’S LETTER 4 NOTEWORTHY 6 OSCAR PEREZ: WHAT’S ON YOUR PLAYLIST? 12 JAZZ EDUCATION NETWORK SECTION 33 • PRESIDENT’S LETTER • THIRD ANNUAL JEN CONFERENCE • NETWORTHY NEWS
JAZZ FORUM 60 CROSSWORD PUZZLE 62 HOT WAX 63 GEARCHECK 64 COLLEGE SPOTLIGHT 67
CD SHOWCASE 69 CLINICIANS CORNER 69 CLASSIFIEDS 70 AD INDEX 71 BACKBEAT: RAY BRYANT 72
Cover photograph: Brian Niven, www.bryanniven.com
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JAZZed September 2011 3
The Dark Side of YouTube
t’s good and it’s bad, and it’s changed the world for each viewing of this performance, that would in so many ways. I’m referring to YouTube and the amount to $110,497 – certainly not an insignifiextraordinary mountain of jazz performance that cant amount of money. Even at a penny per view exists within its space. There is a wonderful, fairly would be $11,000. There have been numerous lawsuits against recent, live performance of Cantaloupe Island featuring Herbie Hancock, Jack DeJohnette, and Pat YouTube (which is now owned by Google), one Metheny. You can find hundreds, if not thousands, of which was just recently settled, according to of performances by the likes of Miles, Coltrane, a Bloomberg.com Aug 17, 2011 article by Don Dizzy, Louis, Art Blakey, and so many other classic Jeffrey. It finally allows “music publishers to form and current superstars that it’s almost overwhelm- licensing agreements with YouTube and receive royalties.” Though this is a step in ing. It’s easy to get an extraordinary the right direction, there are still education in jazz just by going onto so many challenges in controlling this site, as there are also many vid“There is a very the content. Songs, recordings, and eos on jazz technique, education, real danger that videos are often not placed directly and improvisation, as well as historical interviews. But, there is a very YouTube could cre- on the site by the artist, but by the dark side to all of this content. ate new fans who fan who may have illegally recorded a performance or simply uploaded There is a very real danger that simply want more an old recording. Hundreds, if not YouTube could create new fans who thousands, of these appear to exist simply want more content for free content for free on YouTube at any time. Copyright from artists. This has, no doubt, from artists.” laws should certainly protect artists already taken its toll on musiagainst this, but 100 percent encians around the world who have forcement is nearly impossible. to scramble to sell tiny volumes How this plays out in the future for musical of CDs, DVDs and digital downloads. So does the YouTube venue get a thumbs up or a thumbs artists will be interesting to see, but hopefully at down? For example, within the YouTube space, some point they will be compensated fairly for there were 1,104,973 views of a performance by their exposure on this site and others on the Web, sax man Joshua Redman from 2006. Should he especially when corporate valuations for Yoube entitled to some compensation for his tremen- Tube’s parent company, Google, has a current dous ability and efforts? No doubt the answer is market capitalization of $171 billion (yes billion) a resounding “YES.” Even if he received a dime dollars…
4 JAZZed September 2011
T H E J U I L L I A R D S C H O O L Joseph W. Polisi, President
Laurie A. Carter Executive Director Benny Golson Artistic Consultant Christian McBride Artist-in-Residence Benny Green Visiting Artist SAXOPHONE Ron Blake Joe Temperley TRUMPET Eddie Henderson Christian Jaudes Joseph Wilder TROMBONE Conrad Herwig Steve Turre GUITAR Rodney Jones PIANO Kenny Barron Frank Kimbrough BASS Ron Carter Ray Drummond Ben Wolfe DRUMS Carl Allen Billy Drummond Kenny Washington
Pre-Professional Artist Diploma Master of Music Bachelor of Music Extraordinary Faculty
Tailored Curriculum, with Weekly Private Study Regular Performance Opportunities International Touring
World-Renowned Guest Artists Apply by December 1 each year; auditions follow in March for entrance in September
Applicants must meet Juilliardâ€™s jazz audition requirements Artist Diploma (a post-graduate, tuition-free program) requires college degree and extensive experience M.M. requires bachelor degree B.M. requires high school diploma or equivalent Send Applications and Pre-Screen Recording to: Juilliard Admissions, 60 Lincoln Center Plaza, NY, NY 10023 (212) 799-5000
CARL ALLEN Artistic Director of Juilliard Jazz
Statistics and other disclosure information for non-degree diploma programs can be found on juilliard.edu/jazz
Photo by Nan Melville
noteworthy NEA Jazz Masters Program Finds New Support for Federal Funding
he U.S. House of Representatives’ Committee on Appropriations recently insisted on the continuation of the 29-year-old Jazz Masters fellowship, which was recommended to be cut earlier in the year by the National Endowment of the Arts. The 2012 appropriations bill submitted by the Department of the Interior, Environment, and Related Agencies (which includes NEA appropriations) was approved by the Committee only under the stipulation that the Jazz Masters program continue. The Appropriations Committee’s bill still awaits a full floor vote from the House of Representatives, review and approval by the Senate Appropriations Committee and the full Senate, and final enactment by President Barack Obama. This leaves a lot of room for amendment and adaptation. Find more info at www.nea.gov/national/jazz.
Fulbright Professor Tom Smith Appointed China Jazz Coordinator Jazz trombonist, researcher and longtime senior fulbright professor of Music Tom Smith has been appointed the new Professor of Jazz Studies at Ningbo University, the first such designation in Mainland China. Smith will immediately begin to assemble musicians and establish a curriculum for Chinese jazz musicians as well as become the founding editor of China’s first English language journal of musicology. Smith is a veteran of jazz implementation, having already made significant contributions to jazz endeavors in Romania, South Africa, Serbia, Montenegro and the United States. He was a professor of Music at Pfeiffer and Shorter Universities respectively and the longest continuous member of the North Carolina Artist-in-Residence Program (1984-1992). As an improvising soloist, he has performed and toured with Louie Bellson, Clark Terry, McCoy Tyner, Joe Henderson, and many more. Since 2002, Smith’s work as a Senior Fulbright Professor has drawn wide attention. In 2005, he founded and coordinated the Tibiscus University Jazz Seminar, the first summer music camp staged in Romania, and helped found (along with Romanian Johnny Bota) the first western-styled jazz music college in that country. In 2009 he established the genesis of the Serbian Academy of Music’s jazz curriculum and joined the expanded summer camp for jazz and classical music in Budva, Montenegro.
6 JAZZed September 2011
Jazz at Lincoln Center’s 2011-12 Season Announced
New York City’s flagship jazz program, Jazz at Lincoln Center, recently
announced the schedule for its seventh season, led by trumpeter Wynton Marsalis. The season kicks off with a double-header performance by NEA Jazz Masters Jimmy Heath and Jon Hendricks, each leading their own bands in a night of swing on September 24th. Subsequent performances throughout the season will include Cassandra Wilson, Herbie Hancock, Wayne Shorter, Taj Mahal, Luciana Souza, Michael Feinstein, and more. For more info, visit www.jalc.org.
Assistant Professor, Jazz Trumpet Frost School of Music Assistant Professor, Jazz Piano Frost School of Music
TERENCE BLANCHARD by Jenny Bagert
Artistic Director, Henry Mancini Institute Frost School of Music Jazz Artist-in-Residence 2011-2012 Frost School of Music
DAVE DOUGLAS by Jimmy Katz
BRIAN LYNCH by Nick Ruechel
The Frost School of Music proudly introduces new faculty appointments and artist residencies.
Faculty and guest artists of the Frost School of Music will elevate your artistry and prepare you for today’s professional world of music.
Outstanding Jazz Scholarships Available. Inquire Today. Email: firstname.lastname@example.org ▪ Application deadline: December 1
www.music.miami.edu The University of Miami Frost School of Music has been an institutional member of the National Association of Schools of Music since 1939
noteworthy Open Letter to Initiate National Jazz Preservation
U.S. Congressman and noted jazz supporter John Conyers recently introduced a bill to establish a national center of jazz preservation. In an open letter to colleagues, he wrote about his initiation of the National Jazz Preservation and Education Act of 2011, designed to help preserve the country’s jazz heritage and educate America’s youth about this national treasure: “My legislation would establish a National Jazz Preservation Program at the Smithsonian Institution’s National Museum of American History. The Program would create oral and video histories of leading jazz artists, acquire, preserve and interpret artifacts, and conduct exhibitions and other educational activities that would enable generations of Americans to learn about and enjoy jazz.” Conyers’s bill would also add a program to book notable jazz musicians with school music programs across the country. “Lastly,” he adds, “the bill would resurrect the historic Ambassadors of Jazz Program, which the U.S. State Department launched back in 1956, and the more recent Jazz Ambassadors Program, operated by State’s Bureau of Educational and Cultural Affairs from 1997 to 2006. Both programs sent noted American jazz musicians abroad to perform.” To contact Rep. Conyers, visit conyers.house.gov.
Capital University Conservatory of Music Nationally and internationally renowned faculty The finest education and training in music coupled with a liberal-arts education taught in a caring environment 18 undergraduate majors including jazz studies Three graduate music education degrees in a summers-only format including one with a jazz pedagogy emphasis
UNCF Benefit to Feature Alfonzo Blackwell
An evening of jazz will be presented on September 17 for the United Negro College Fund’s (UNCF) annual benefit concert event. This year’s musical guest star is veteran jazz saxophonist Alfonzo Blackwell, a New York native who has recorded and performed with artists like Gladys Knight, The Whispers, Mary J. Blige, Faith Evans and more. The event will feature a lot of favorite hit songs written and performed by Blackwell. It will also feature his debut presentation of John Coltrane’s “Impressions.” More info at ww.uncf.org
Earshot Jazz Festival Set for October in Seattle
This year’s Earshot Jazz Festival features a who’s-who of contemporary jazz stars, including Keith Jarrett and the Bad Plus. The festival runs from October 14 through November 6th and will also include memorable performances from Jarrett’s trio with Gary Peacock and Jack DeJohnette, Brad Mehldau, Roosevelt & Mountlake Terrace High School Jazz Bands, a quartet of New Yorkers Javon Jackson, Mulgrew Miller, Peter Washington, and Jimmy Cobb performing a tribute to John Coltrane; bassist/ composer Evan Flory-Barnes performing his jazz/rock/classical/hip-hop masterwork “Acknowledgement of a Celebration,” the Seattle Repertory Jazz Orchestra, and many more. For more info, visit www.earshot.org
Heather Massey 866-544-6175 or email@example.com
Graduate program in jazz
Dr. Lou Fischer 614-236-6285 Ext. 1 or firstname.lastname@example.org
For Additional News in JAZZed, please visit
8 JAZZed September 2011
PlayMonterey Win a Spot on the Stages of the 55th Annual Monterey Jazz Festival! Enter the Next Generation Jazz Festival Competition! Open to Middle School, High School, Conglomerate High School, and College Big Bands; High School Combos; High School and College Vocal Ensembles; and Open Combos, open to any combination of College and/or Conglomerate High School Ensembles. Individual high school musicians are invited to audition for our Next Generation Jazz Orchestra, performing at the 55th Annual Monterey Jazz Festival and on a summer tour! Enter our Big Band Composition Competition and see your piece performed by the Next Generation Jazz Orchestra on the Jimmy Lyons Stage at the Monterey Jazz Festival!
Win Scholarships....Enjoy Clinics! Win scholarships, trophies, cash prizes, and more! Enjoy performances, clinics, workshops, and more with our 2012 judges and the Festivalâ€™s 2012 Artist-In-Residence.
Ne t Generation Jazz Festival PRESENTED
March 30-April 1, 2012 Monterey Conference Center Monterey, California
Applications and Information montereyjazzfestival.org 831.373.3366 Entry deadline for all ensembles is January 20, 2012. Entry deadline for videotaped Next Generation Jazz Orchestra auditions and for the Composition Competition is March 3, 2012. Major funding for the Next Generation Jazz Festival comes from the AT&T Foundation, the Nancy Buck Ransom Foundation, the Hearst Foundations, the Clarence E. Heller Charitable Foundation, the Joseph Drown Foundation, and individual donors. Thanks to our Partners: City of Monterey, DownBeat Magzine, and Yamaha Instruments!
noteworthy JodyJazz Praises Partnership with Brooks Middle School Jazz Band JodyJazz Inc, president Jody Espina recently said the best tie in his company ever made was the choice to
sponsor the Brooks Middle School Jazz Band sax section, which it continues to supply this year. After their standing room only performance at the 2010 Midwest Band Clinic, Espina says he was inundated with band directors, including Crescent Super Band director Caleb Chapman. For more info, visit www.jodyjazz.com.
Berklee College of Music Presents Berklee City Music Scholarship, Awards Four-Year Scholarships to Urban Teens Students receiving four-year tuition scholarships for study beginning fall 2011 were announced during the 19th annual scholarship concert event where talented teens from Berklee City Music Network sites across the country performed in Boston, Mass. In 2010, Berklee City Music awarded nearly $1.2 million in scholarships to 14 deserving teens. Berklee City Music students who have been accepted by the college and completed Berkleeâ€™s 5-Week Summer Performance Program were eligible for the scholarship and go through a highly selective application process including a creative portfolio, written essay and audition for a panel of judges from Berklee College of Music. Scholarships are awarded based on talent, passion, academic readiness and financial need. The scholarship concert featured students ages 15 to 19 currently attending the Five-Week Summer Performance Program performing rock, pop, jazz, inspirational music, and R&B songs.
J A Z Z AT L I N C O L N C E N T E R
J O I N E S S E N T I A L LY E L L I N G T O N Featuring the music of Duke Ellington and Dizzy Gillespie Free membership for high school jazz bands includes: Six new original transcriptions Reference CD/DVD with original recordings and rehearsal videos Online resources, teaching guides and program newsletters Non-competitive EE Regional Festivals Submit a recording for the EE Competition & Festival in New York City Discounts to the annual Band Director Academy
jalc.org / essentiallyellington
10 JAZZed September 2011
What’s on Your Playlist? Pianist/composer/educator Oscar Perez is part of a new generation of musicians busy erasing the old distinctions between straight-ahead and Latin jazz, forging new group concepts by blending Afro-Caribbean rhythms and postbop idioms. With his second album, Afropean Affair, Perez places himself firmly in the forefront of this rising movement. Featuring his stellar young band Nuevo Comienzo, the CD focuses on the pianist’s original music, which he wrote to showcase his group’s prowess. Balancing poise and power, the combo features some of the most prodigious young players on the scene. Perez, who grew up in Queens with a Cuban father and Colombian mother, has performed with a range of jazz masters including Wycliffe Gordon, Steve Turre, George Russell, Peter Bernstein, Charenee Wade and Cathy Elliott, and spent three years accompanying the late, Grammy Award-winning singer/songwriter Phoebe Snow. 1. Danilo Perez – Providencia As one of my heroes and teachers, all his music was influenced me, but this CD is truly special. I have seen Danilo come full circle with the music he started composing on Motherland. Along with Rudresh Mahanthappa, he has started incorporating Middle Eastern rhythms and harmonic flavors into both his writing and improvisations. This is the true meaning of world music. The openness he has explored playing with Wayne’s quartet really shines through here. 2. Chris Potter – Song for Anyone This is Chris’s dedication to the late Michael Brecker. It is beautifully orchestrated using strings and woodwinds alongside with classic “jazz” instruments. The melodies are so haunting that I find myself listening to it for days at a time. It’s such a personal offering; I really feel the emotion and dedication. In the end, isn’t that the purpose of music? 3. Bill Evans – Since We Met This is classic Bill Evans trio. I love this particular trio with
Eddie and Gomez and Marty Morrell. At this point Bill had established himself as one of the most important pianists and this trio played very refined with no need to impress. 4. Ruben Blades y Son del Solar – Live! My uncle Jaime gave me this CD when I was in high school. It is one of those recordings that just make you want to dance, but it is very sophisticated in its use and execution of the Clave. The songs and its stories are so powerful plus the musicians are really dealing on this live set. I really dig the synth sounds, being a child of the ’80s. If only I had been old enough to see this concert! 5. Oscar Peterson Trio – London House Sessions, Vol. 1 Oscar is right up there with Art Tatum as far as content, technique and execution. The great thing about this CD is the arrangements. Check out the trio playing Chicago, they gave this tune a special treatment. And played it well for this audience as “The London House” was in Chicago. The trio was on fire and if your foot isn’t tapping halfway through the first tune, there’s something wrong.
Oscar Perez’s newest release, Afropean Affair (Chandra Records), comes out October 11, 2011. www.oscarperezmusic.com 12 JAZZed September 2011
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6. Vladimir Ashkenazy, Pianist; André Previn, Conductor; London Symphony Orchestra – Rachmaninoff’s Piano Concerto #2 I love the Russian composers. They all composed with such emotion and Rachmaninoff’s yearning and struggles with leaving Russia are really put on display here. His orchestrations are perfect and the triplet rhythms in the piano against
the melodies in the woodwinds in the 2nd movement sound so natural, it makes you scratch your head when analyzing the score. With its beautiful melodies throughout, it’s a must listen. 7. Chick Corea and Return to Forever – Light as a Feather Although I’ve always been a fan of
as requested by you.
You asked for the playability and sound of the early Otto Links. We listened. With structural changes both inside and out, “the sound” of yesteryear has been recaptured.
Otto Link Vintage for tenor sax.
this recording, I recently presented a masterclass of Chick’s music (right before Chick did his own masterclass!) So I went back and really immersed myself in this recording. All the qualities that I hope to achieve with my working band are here. It has Brazilian and Latin rhythms, sure, but these musicians were also well steeped in playing jazz and blues..
Mouthpieces for clarinets and saxophones
8. Bruce Hornsby – Camp Meeting Christian McBride gave me a blindfold test with this CD. I was guessing all kinds of pianists before I was let in on the not-sosecret fact that Bruce is a great pianist and interpreter of jazz. His arrangements of tunes such as “Giants Steps” incorporate drum loops, which fit well. Bruce’s reharmonization of “Solar” is truly original; employing those Hornsby chords he’s become known for. 9. Hillary Hahn and the LA Chamber Orchestra – Bach: Violin Concertos I first heard this CD on a plane heading home after a long tour. It was part of the musical selections from their media center. I was exhausted and I thought that if I put on some nice string music and I’d drift off. That was not to be the case, I stayed awake the whole flight totally immersed in the performance. Hillary is an outstanding soloist, interpreting the music at a very high level. 10. John Patitucci – Songs, Stories and Spirituals John’s blend of Brazilian and gospel really hit home for me. This is the record I put when I need inspiration, so it’s on my playlist quite a bit. Luciana Souza, Ed Simon, Tim Ries and Brian Blade all contribute their unique artistry. John’s writing is very precise and songs like “Now the River” showcase all his influences like classical and folk music. But in the end, there’s plenty of room for masterful improvisations making this CD a repeat listen.
14 JAZZed September 2011 jjbjazzed.indd 1
11/16/09 2:39 PM
Where are the Girls? by Dr. Ariel Alexander
o those of us who teach at the junior high, high school or collegiate level, it is no secret that boys and young men are participating in instrumental jazz at a far greater level than girls and young women. 1 2 I’ve spent the last four years in the quest to answer two very simple questions:
1. Why is it that females participate in instrumental jazz at a lesser rate than their male counterparts? 2. What can we do as educators to encourage our female students to take part in instrumental jazz programs? Throughout my research, I’ve found three main factors that serve to turn females away from jazz: • The masculine image of jazz • The gender stereotypes of musical instruments • The behavioral tendencies and preferences of girls and young women I’ve presented each area individually along with implications for educators. The Image of Jazz
For the next few seconds, put yourself into the mindset of a 13-year old girl. Whose image appeals to you more: Lady Gaga or John Coltrane? Katy Perry or Miles Davis? Since its inception, jazz has been seen as a world of men – a musical boys’ club if there ever 1 2
Steinberg, 2001 Barber, 1999
16 JAZZed September 2011
Gourse, 2000 Dahl, 2004
was one.3 4 In fact, for much of jazz history, it has been impractical or even dangerous for females to participate in instrumental jazz. From the brothels of New Orleans to late night jam sessions in disreputable big city nightclubs, jazz came of age in places where women were either absent or exploited. Not surprisingly, there are very few female role models in instrumental jazz. Female instrumentalists are largely absent from jazz textbooks.5 Female jazz instrumentalists are also underrepresented in the academic world, where one might have expected more of an effort to show gender diversity.6 Research tells us that girls and young women are shown to be more successful when they have female role models to look up to.7 However, with the danger-infused masculine stereotypes of jazz combined with the lack of female role models, young women today may simply not realize that pursuing an interest jazz is even an option for them.
“DON’T BE AFRAID TO GIVE GIRLS AND YOUNG WOMEN A LITTLE ‘PUSH’ TO GIVE IMPROVISATION A TRY.” 5 6
Steinberg, 2001 McKeage, 2004
Tips for Educators:
While we certainly can’t change the image of jazz overnight, educators at all levels can still take some impor-
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guest editorial tant steps to expose their students to female jazz instrumentalists from past and present. • Highlight female jazz musicians in your classroom discussions of jazz history. Some examples are Marian McPartland, Lil Hardin and Melba Liston. • Show video clips and play audio examples featuring current female jazz artists. Ingrid and Christine Jensen, Esperanza Spaulding and Maria Schneider are great choices. • When arranging for school performances or field trips, choose opportunities that involve female instrumentalists. Remember, it is not necessary to point females out (“Look! OMG! A girl playing the saxophone!!!”). Simply seeing female instrumentalists will help our students understand that females can, in fact, play jazz.
Sexual Stereotyping of Instruments
they are more likely to gravitate towards “feminine” instruments. They also found that the way in which instruments are presented to a child in elementary school heavily influences his or her instrument choice. While we may question if this 1978 study is out of date, many recent researchers have explored this same area to find that over the last 30 years, the number of females playing “masculine” instruments has, in fact, not changed.8 9 So, what’s the big deal about sexual stereotyping of instruments? Well, let’s look at the standard instrumentation in a big band: saxophone, trumpet, trombone, bass, drums, guitar and piano. According to Ables and Porter, five out of these seven instruments are coded as “masculine.” Next, we know that most students are given their first chance to ‘try’ jazz in junior high or high school jazz band. However, students who do not play “masculine” instruments likely do
Here’s a generalization: Boys play the trombone and girls play the flute. Is this really true? In 1978, Ables and Porter conducted what has become the landmark study on the sexual stereotyping of instruments. After studying both adults and children, the researchers created what they call a ‘continuum’ of masculine to feminine instruments. Not surprisingly, they found that the drums, trombone and trumpet were seen as “masculine” instruments, while the flute, clarinet and the violin were perceived as “feminine.” In other words, as the stereotype suggests, boys were more likely to play the trombone, and girls were more likely to play the flute. Researchers have also revealed other important trends in the sexual stereotyping of instruments. Younger children are less likely to hold sexual stereotypes about instruments. In other words, as girls age,
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You All I Need
As It Is James
The Daily Dance (by Bill Holman) 15 Step
Pat Metheny There, There Paranoid Android Bill Holman
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Packt Like Sardines in a Crushd Tin Box
If You Could See Me Now
I Thought About You Vern Sielert Values Neil Slater
Speak Low My Foolish Heart
I Hope In Time A Change Will Come Bob Curnow
18 JAZZed September 2011
• Present instruments in a genderneutral manner. This could mean bringing in both a female and male to demonstrate each instrument. Or, perhaps educators could supplement live demonstrations of instruments with audio or visual examples. • Make jazz accessible to all instrumentalists, including non-traditional jazz instruments. This can be as simple as adding a few clarinets to the trumpet section, or violins to the saxophone section. Teachers can also form non-traditional ensembles such as “jazz flute choir” or “jazz string ensemble.” Hal Leonard’s “Combo Paks” and Jamey Aebersold’s play-along series can be easily adapted to be used by all instrumentalists.
Perhaps one of the most celebrated qualities of jazz is its focus on the individual. When we improvise, our goal is often to establish our own “voice.” In short, jazz is an expression of identity. If you spend even five minutes in the halls of a junior high, it will be no secret that adolescent males and females are very different creatures. Research shows us that while males tend to form their identities based on independence and separation from their peers, girls and young women usually form their identities based on their relationships with others. 10 Additionally, researchers have found that males and females use and experience music in very different ways. While males tend to use music as a personal expression, females are more likely to use music as a social means to connect with a group.11
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Therefore, the female tendency to define herself based on interaction with others in an ensemble is at odds with the individualistic essence of jazz improvisation. Another factor that may deter females from pursuing jazz is the competitive, head to head, nature of this art. Many common practices in jazz, such as cutting contests and trading fours, are based around not only competition, but actually dominating the bandstand in such a way as to make others back off. This emphasis on competition can be uncomfortable for girls and young women. Research shows us that although males are often motivated by competition, females tend to avoid situations that they anticipate as being competitive.12 It is no surprise that these general behavioral traits discourage females from playing jazz.
Tips for Educators:
Behavior and Socialization
where excellence comes to
not get the opportunity to participate in jazz band. Therefore, these students are not exposed to jazz, nor are they given the opportunity to “try it out.”
It’s all here www.music.umich.edu
BFA in Jazz Studies BFA in Jazz Studies with Teachers Certification BFA in Jazz and Contemporary Improvisation BFA in Jazz and Contemplative Studies MM in Improvisation
JAZZed September 2011 19
guest editorial Tips for Educators:
Top artists can pick any brand they chose
Think about most adolescent girls. They are insecure, anxious and self-conscious. Can you think of a worse time to introduce females to jazz? It would be greatly beneficial if music educators included improvisation (not necessarily jazz) in their curricula throughout elementary school. Some great models are the Orff and Kodaly methods. Try “group improvisation.” We know that females who are exposed to improvisation before adolescence are more likely to participate in jazz programs. Secondly, we know that adolescent females thrive in groups. We can use this to our advantage. Instead of asking the first tenor to solo, why not ask the whole saxophone section to take a solo together? Don’t be afraid to give girls and young women a little “push” to give improvisation a try. When we let females opt-out of taking a solo, we are passively confirming their fears. Don’t give them time to refuse. “It’s Suzie’s turn, next. One, two, three, four, GO!” I hope that in ten years, this type of article will be unnecessary. However, for now, our work isn’t done. We can’t rewrite jazz history and we certainly can’t change the behavioral tendencies of females. Nonetheless, educators at every level from elementary to college can start to make small changes with big ramifications. Let’s get started.
Dr. Ariel Alexander is a saxophonist, composer and educator in the Los Angeles area. She teaches at Chaffey College and Los Angeles Southwest College.
Dr. Ed Calle
Abeles, H. F, & Porter, S. Y. (1978). The gender-stereotyping of musical instruments. Journal of Research in Music Education, 26, 65-75. Barber, D. (1999). A Study of Jazz Band Participation by Gender in Secondary High School Instrumental Mu8
Delzell & Leppla, 1992 Sinsabaugh
sic Programs. Jazz Research Proceedings Yearbook, 19, 92-99. Dahl, L. (2004). Stormy Weather: The Music and Lives of a Century of Jazz Women. Pompton Plains, NJ: Limelight Editions. Delzell, J. K., & Leppla, D. A. (1992). Gender Association of Musical Instruments and Preferences of FourthGrade Students for Selected Instruments. Journal of Research in Music Education, 40(2), 93-103. Eccles, J. S. (1987). Gender roles and women’s achievement-related decisions. Psychology of Women Quarterly, 11, 135-172. Gould, E. S. (2001). Identification and application of the concepts of role model: Perceptions of women college band directors. Update: Applications of Research in Music Education, 20 (1), 14-18. Gourse, L. (2000). Women Jazz Musicians Break the Glass Ceiling. The Women’s Review of Books, 18(3), 7-8. Madden, M.P. (2008). Women Preparing for Men’s Occupations: A Phenomenology. Dissertation Abstracts International, 69 (06), (UMI No. 3310937). McKeage, K.M. (2004). Gender and Participation in High School and College Instrumental Jazz Ensembles. Journal of Research in Music Education, 54(4), 343-356. North, A. C., Colley, A. M., & Hargreaves, D. J. (2003). Adolescents’ Perceptions of the Music of Male and Female Composers . Psychology of Music, 31(2), 139-154. Sinsabaugh, Katherine. (2005). Understanding Students Who Cross Over Gender Stereotypes in Musical Instrument Selection (Doctoral dissertation, Columbia University, 2005). Steinberg, E. N. (2001). “Take a solo”: An analysis of gender participation and interaction at school jazz festivals (Doctoral dissertation, University of the Pacific, 2001). Dissertation Abstracts International, 62, 3329.
11 Macdonald, Hargreaves, & Miell, 2002
12 Eccles, 1987
20 JAZZed September 2011
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When High Teaching Standards Show:
High School Jazz Bands Perform At Jazz at Lincoln Center BY EUGENE MARLOW, PH.D.
I Photo credit: Richard Blinkoff
n early March 2011, four high school-level jazz bands, one high schoollevel jazz choir, and one college-level vocal ensemble gathered on the stage at the prestigious Allen Room at Jazz at Lincoln Center (JALC) to perform for a packed and enthusiastic audience comprised mostly (and understandably) of friends and family.
22 JAZZed September 2011
Produced by Manhattan Concert Productions under the banner of the “NYC Jazz Festival Showcase,” the Sunday afternoon performance presented jazz ensembles from the East and Midwest, including: • • • • • •
The Bishop Fenwick High School Jazz Band, Peabody, Massachusetts The Bishop Fenwick High School Jazz Choir, Peabody, Massachusetts The Nutley High School Jazz Ensemble, Nutley, New Jersey The Black River High School Jazz Orchestra, Holland, Michigan The Greenwich High School Jazz Ensemble, Greenwich, Connecticut The New School Vocal Jazz Ensemble, New York City
The repertoire performed by these groups was varied, with charts by Sonny Rollins, Eric Morales, Gerry Mulligan and Zoot Sims, Johnny Green, Les Hooper, Bob Meyer, Charles Mingus, Chick Corea, Rick Parker, Duke Ellington, Billy Strayhorn, Kurt Weill, Antonio Carlos Jobim, Morana Mesic, and Matthew Gee. On several occasions student instrumentalists took solos, a challenging task given the Jazz at Lincoln Center venue. In addition to the public performance, both the student musicians and jazz ensemble directors were given recorded feedback from several clinicians present at the performance, including vocal clinicians Duane Davis, Ly Tartell, Kurt Elling, and Steve Zegree, and instrumental clinicians Scott Cowan and Bob Mintzer. Sean Berg, Manhattan Concert Productions Director of Concert Operations, who served as the afternoon’s Master of Ceremonies, commented “Ensembles also receive a private clinic with one of the clinicians focused on educational experiences and tailored to what the ensemble director would like the students to receive.” The event just celebrated its 8th Year. It began in 2003 at Town Hall,
then moved to Alice Tully Hall, Lincoln Center, and then to JALC in 2007.
Instruments & Gender One could not help noticing two factors while observing the performances by these student ensembles: the variety of instruments from ensemble-to-ensemble, and the preponderance of young women, regardless of section. In addition to the expected big band instrumentation of saxophones, trombones, trumpets, and the usual piano/ bass/drums rhythm section, the Bishop Fenwick High School Jazz Band also incorporated a violin, French horn, three guitars, and three electric keyboards. The Nutley High School Jazz Ensemble added vibes to its rhythm section. The Black River High School Jazz Orchestra also added vibes to its rhythm section, plus congas, plus tuba to the horn section. The Greenwich High School Jazz Ensemble put a bass clarinet in its reed section, and a bass trumpet with the horn section. Another factor one could not help missing was the preponderance of
young women in all sections. Two examples: the Greenwich High School Jazz Ensemble boasted four women in its group, one of whom played the aforementioned bass trumpet on which she also took a solo. Most of the reed section in the Black River High School Jazz Orchestra were young women.
High Preparatory Standards=High Performance Values The New School Vocal Jazz Ensemble, directed by Amy London, obviously a college-level group, performed last and clearly evidenced a high performance standard. Listening to the inner and outer voices was remindful of Manhattan Transfer and the highly disciplined and choreographed presentations of The New York Voices. This vocal group showed not only musical skill, but also the kind of stage poise one has grown used to when enjoying the performances of the aforementioned, highly reputed professional vocal groups. The standout high school ensemble was without doubt the Holland, MichJAZZed September 2011 23
“NOT ONLY WAS THE PLAYING OF HIGH QUALITY GIVEN THEIR LEVEL OF TRAINING, SO WAS THE STUDENTS’ LEVEL OF SELF-CONFIDENCE AND STAGE PRESENCE.” igan-based Black River High School Jazz Orchestra, led by director Jon
Montgomery. There were two reasons for this. First, the playing was the best in terms of intonation, section playing, and soloing. The second reason was the on-stage behavior of its director. His conducting was minimalist compared to the other ensemble directors. During one piece Montgomery totally stepped aside and allowed the orchestra to lead itself, including the soloists. It was clear from the performance the students were capable of being in complete charge of their own performance. In effect, not only was the playing of high quality given their level of training, so was the students’ level of selfconfidence and stage presence. The collective behavior of the director and the students at this performance prompted this writer to find out more about the orchestra’s director and the Black River School itself. What
I found after a modicum of research was confirmation that high teaching standards result in high performance, that is, when parents demand higher standards, and a school administration, in turn, responds by raising the bar, students excel.
Black River HS History Holland, Michigan is a middle-class community about two hours north of Chicago near Grand Rapids. It has a large Hispanic community. In 1996, in response to growing scrutiny of public education in Michigan and throughout the nation, a group of local parents, business, civic and educational leaders determined that additional educational opportunities were needed. The group organized and perfected their vision of a school more attuned to students’ needs for the future and less hampered
“…one of this country’s leading conservatories” — The New York Times Comprehensive Curriculum Extensive Big Band and Combo Program Jazz Listening Library with over 12,000 jazz recordings Jazz Computer Studio Jazz Recording Studio Visiting Artist Series includes over 15 clinicians each year
scholarships and graduate assistantships available for audition dates and further information:
Joshua Re d
degrees: bachelor of music in jazz studies bachelor of music in music education with a concentration or double major in jazz studies master of music in jazz studies
faculty: Scott Belck, director of jazz studies Chris Berg, bass James Bunte, saxophone Rusty Burge, vibraphone Philip DeGreg, piano Marc Fields, trombone Art Gore, drums Bill Gwynne, recording techniques Kim Pensyl, trumpet Paul Piller, arranging, composition James E. Smith, guitar Rick VanMatre, saxophone John Von Ohlen, drums
513-556-5463 FAX: 513-556-1028
Co l l eg e– Co n s e rvato ry o f M u s i C 24 JAZZed September 2011
by internal bureaucracy. They sought a charter authorization from Grand Valley State University, and in July 1996 that charter was granted. In response to a need identified by its founders, the Black River Public School has created a college preparatory program now encompassing kindergarten through 12th grade students, providing an environment thriving on participation, responsiveness, and experiential learning. On the home page of its web site, the school’s success is reflected in a simply stated paragraph: With a MISSION of preparing students for college and life, we have established our school as a consistent producer of superior results. Black River offers a SMALL school environment with small class sizes and a CHALLENGING curriculum which fos-
ters student engagement in their own education and enhances student responsibility and accountability.
The Music Curriculum Even a cursory look just at Black River’s music program causes an initial double-take. When I first looked at the curriculum I thought I had stumbled on a college-level program. After blinking a few times I realized I had indeed come to the right place. The school’s Music Department offers: Beginning Brass and Percussion, Beginning Woodwinds, Middle School Band, Concert Band, Symphonic Band, Jazz Band, Beginning Orchestra, Prepa-
ratory Orchestra, Concert Orchestra, Advanced Orchestra, Vocal Elements, and Concert Choir. In a late-March interview, the Jazz Orchestra’s Director, Jon Montgomery, reflected on the essence of the school’s mission with specific reference to the music
JAZZed September 2011 25
program: “It’s important for the students to take ownership of the music. Mingus never conducted his band. Yes, he gave a downbeat but then he played the bass. The music is on the page and in their ears. This is why I do little conducting. “If you raise the bar, the students will reach for it. The whole school is 800 students of which 400 are in the high school. We don’t have a football team, we don’t have busing. We put the dollars in to education.” Montgomery’s final statement was the most telling: “It is a requirement of graduation that you be accepted to a four-year college. You don’t have to go there, but you have to be accepted.”
Expectations The Black River Public School educational environment is one to be envied as well as emulated. It shows once again that when those in charge – i.e., parents, administrators, and teachers – demand higher levels of performance, whether academic or aesthetic, students respond. Those who perceive that the fine and performing arts are not important to the overall quality of life in a country and remove public support should try standing up in front of an audience in the Allen Room at JALC and give a soulful solo on a Mingus chart and see what it takes. They would soon find out how high standards in the arts translate into high standards elsewhere in the culture. Eugene Marlow, Ph.D., is an award-winning composer/arranger, producer, presenter, performer, author, journalist, and educator. He has written over 200 classical and jazz compositions for solo instruments, jazz and classical chamber groups, and jazz big band. Under the MEII Enterprises label, he has produced six CDs of original compositions and arrangements. His big band chart, “El Aché de Sanabria (en Moderación),” appears on Bobby Sanabria’s Grammy-nominated album Big Band Urban Folktales (2007 Jazzheads). Marlow is senior co-chair of the Milt Hinton Jazz Perspectives Concert Series at Baruch College (The City University of New York), now in its 19th season, where he teaches undergraduate and graduate courses in media and culture.
26 JAZZed September 2011
At MSM, I don’t have to wait until I graduate to take what I’ve learned in the classroom to the stage. —KATE DAVIS
Top-flight instruction coupled with a sense of family at MSM have been instrumental to me as an artist. —ADAM LARSON
People here help you become what you want to be – and even help you become things that you never thought you could be. —CHRISTIAN SANDS
Manhattan School of Music Jazz Arts JUSTIN DICIOCCIO, ASSOCIATE DEAN, CHAIR, JAZZ ARTS PROGRAM 120 Claremont Avenue, NY, NY 10027
212 749 2802
My experience at MSM has prompted me to refocus my energy on multiple roles as a musician. I’m no longer just aiming to be a great trombonist, but an equally strong composer, arranger and educator. —NATALIE CRESSMAN
Determining Curricular Repertoire BY DR. MARK WATKINS
Part two (part one of this article appeared in the July issue of JAZZed)
iven the extensive repertoire available to jazz musicians, it is sometimes daunting to know where to start, especially for the young player. Yet the responsibility remains for the university jazz program to prepare their students for the professional world in a sequential and timely manner covering appropriate styles and tune types. This is compounded when one considers that students may eventually reside in other geographical regions due to family, work opportunity, or graduate studies. Curricular Repertoire The third part of the study requires the categorization of repertoire into style and tune types. Titles that match the survey are referenced in bold if found on List 1 and italics if on List 2. Note that there are more melodies in the Ballad category from List 2 than List 1. This may be due to ballads being more personal and, consequently, diverse. Mention of Blues and Rhythm tunes as essential is common amongst respondents but as stated above, most opted not to include many on their lists. In order to make the Categorical Listing more valuable to students unfamiliar with the plethora of choices, all references by survey contributors (adding those with four or less inclusions) have augmented the Blues and Rhythm columns. Other selections in normal type are from cross-referencing three select texts and seven or more Web sites (major universities or significant performers) adding at least ten references. Text choices reflect diversity in author residence, primary performance medium, and intent: David Baker. How to Learn Tunes: A Jazz Musicianâ€™s Survival Guide. New Albany, IN: Aebersold, 1997. Hal Crook. Ready, Aim, Improvise! Exploring the Basics of Improvisation. Rottenburg: Advance, 1999. Mark Levine. The Jazz Piano Book. Petaluma, CA: Sher Music, 1990. Web publications have similar diversity. Some emphasize jazz blues or rhythm tunes, some are general, and some are curricular.
28 JAZZed September 2011
lessons learned Junior
All of You Alone Together Along Came Betty Anthropology Au Privave Back Home Again in Indiana Beautiful Love Blues for Alice Body & Soul But Beautiful Caravan Ceora Cherokee Come Rain or Come Shine Confirmation Corcovado (Quiet Nights of Quiet Stars) Desafinado Embraceable You Giant Steps Girl from Ipanema Half Nelson Have You Met Miss Jones? Here’s that Rainy Day Hot House How Deep is the Ocean? I Love You I Mean You I Remember You I Should Care I Thought About You I’ll Remember April If I were a Bell In a Sentimental Mood Inner Urge Invitation It Could Happen to You It Don’t Mean a Thing It Had to Be You It Might as Well Be Spring It’s You or No One Joy Spring Just Friends Laura Lazy Bird Like Someone in Love Love for Sale Milestones (new) Moment’s Notice Moonlight in Vermont My Favorite Things My Foolish Heart Nardis Nica’s Dream Night and Day Night in Tunisia, A Oleo One Note Samba Ornithology Our Love is Here to Stay Out of Nowhere Over the Rainbow Polka Dots and Moonbeams
Round Midnight Scrapple from the Apple Seven Steps to Heaven Shadow of Your Smile, The Skylark So What Solar Someone To Watch Over Me Song is You, The Speak Low Speak No Evil Star Eyes Stella by Starlight Sweet Georgia Brown Take 5 Tenderly Triste Waltz for Debbie Way You Look Tonight, The Well You Needn’t What is This Thing Called Love? Whisper Not Willow Weep for Me Witch Hunt Witchcraft Yes or No Yesterdays You Don’t Know What Love Is You Stepped Out of a Dream You’d be so Nice to Come Home To
Airegin Angel Eyes Beatrice Cherokee Con Alma Confirmation Countdown Dolphin Dance Donna Lee E.S.P. Emily Fee Fi Fo Fum Four in One Giant Steps I Hear a Rhapsody In Your Own Sweet Way Inner Urge Joy Spring Lush Life Moment’s Notice My Foolish Heart My One and Only Love Nica’s Dream Peace Prelude to a Kiss ‘Round Midnight Sophisticated Lady Stablemates Take 5 What’s New?
www.trueguitarist.com/a-list-of-the-most-popular-jazz-standards/ www.music.sc.edu/ea/jazz/JAZZ%20IMPROVISATION%20I.pdf www.learnjazzstandards.com/learning-jazz/list-of-blues-heads/ www.kutztown.edu/acad/music/jazzrep.shtml www.jazzguitarlessons.net/jazz-blues.html www.hopestreetmusicstudios.com/articles/100-must-know-jazztunes www.chemusic.org/instruments/jazz_repertoire.html www.angelfire.com/fl4/moneychords/rhythmchanges.html tamingthesaxophone.com/jazz-repertoire.html music.csueastbay.edu/jazzrep.pdf jazz.uoregon.edu/currentundergrad.html jazz.uoregon.edu/currentgrad.html en.wikipedia.org/wiki/Rhythm_changes en.wikipedia.org/wiki/List_of_post-1950_jazz_standards
Numbers to the left indicate totals of the survey and additional references. Numbers in parenthesis to the right show first the survey then the additional sources. Tunes with the same number are listed alphabetically. There appears to be agreement between the source groups. The additional sources seem to confirm the survey. Whereas survey respondents emphasized Blues and Rhythm (albeit without many titles), they cited fewer Fusion and Avant Garde/Free Jazz compositions. Numbers to the left are referrals from the survey, no additional sources. One might ask, “Why does it matter”? Four points can be considered: A standard repertoire represents music that generations of performers have either deemed of high quality or enjoy playing. Standards can help one’s learning of the art form. They are especially significant for young musicians to use as a foundation. From here they can grow in any of several directions. Standards are a great teacher. They constitute a body of knowledge that is transferable from one location to another, thus allowing musicians from various locales to perform with each other. In today’s environment, tradition has established expectations. Jazz musicians without a fundamental internalization of at least a certain number of standards will find themselves unable to participate in many settings. Some have asked, “Will emphasizing such lists not cause the jazz art to stagnate”? Consider this: 1. If only a limited number of standards were propagated, yes. But there are so many. Considering regional favorites, the learning of standards is not so stagnant. Six hundred and eleven tunes are on only 37 contributor lists. 2. Amidst the learning of standards, jazz musicians are constantly writing their own tunes. The composer/ performer persona á la Bach, Mozart, Haydn, Beethoven, Liszt, et al is alive and well in jazz. 3. Various regions have their own distinct “standard” repertoire (along with one that is more universal), which is important for such a creative art to thrive. JAZZed September 2011 29
lessons learned Categorical Listing (select) Blues
18 All Blues (12+6) 13 Stolen Moments (7+6) 09 Blue Trane (2+7) 08 Walkin’ (5+3) 07 Freddie the Freeloader (3+4) 05 Isotope (3+2) 05 Sandu (2+3) 03 Doodlin’ (0+3) 03 One for Daddy ’O (0+3) 03 Blues March (2+1) 03 Cousin Mary (1+2) 03 Jumpin’ with Symphony Sid (1+2) 03 Limehouse Blues (1+2) 03 Nutville (2+1) 03 Red Top (1+2) 03 Route 66 [swing] (1+2) 03 St. Louis Blues (1+2) 03 Vierd Blues (1+2) 02 Blue Bolivar Blues (0+2) 02 Blues Connotation (0+2) 02 Black Coffee [ballad] (0+2) 02 Blues for Stephanie (0+2) 02 Blues on the Corner (0+2) 02 Cedar’s Blues (0+2) 02 Chasin’ the Trane (0+2)
30 Oleo (21+9) 17 Anthropology (11+6) 10 I Got Rhythm (6+4) 09 Good Bait (7+2) 08 Cottontail (4+4) 08 Lester Leaps In (3+5) 08 Moose the Mooche (2+6) 07 Rhythm-a-ning (3+4) 06 Flintstones, The (1+5) 05 Theme, The (2+3) 04 Dexterity (1+3) 04 Eb Pob (2+2) 03 Eternal Triangle (3+0) 03 Salt Peanuts (1+2) 03 Shaw ‘Nuff (0+3) 03 Steeplechase (0+3) 03 Straighten Up and Fly Right (0+3) 03 Tiptoe (0+3) 03 Webb City (1+2) 03 Wee/Allen’s Alley (1+2) 02 52nd Street Theme (0+2) 02 Apple Honey (0+2) 02 Chasin’ the Bird (0+2)
02 Comin’ Home Baby (1+1) 02 Filthy McNasty (0+2) 02 Five Spot After Dark (0+2) 02 Gingerbread Boy (0+2) 02 Jodie Grind, The (0+2) 02 Royal Garden Blues (0+2) 02 Sack O’ Woe (0+2) 02 Some Other Blues (2+0) 02 Teenie’s Blues (0+2) 02 When Will the Blues Leave (0+2)
18 Blue Monk (11+7) 16 Tenor Madness (9+7) 11 Sonnymoon for Two (8+3) 10 Bag’s Groove (7 +3) 10 Things Ain’t What They Used to Be (4+6) 08 Bessie’s Blues (5+3) 08 C Jam Blues (3+5) 06 Cool Blues (3+3) 05 Blues in the Closet (2+3) 05 Blues Walk, The (3+2) 05 Misterioso (4+1) 05 Night Train (1+4) 04 West Coast Blues (4+0) 03 Bemsha Swing (3+0)
02 Don’t Be That Way (0+2) 02 Goin’ to Minton’s (0+2) 02 Jumpin’ at the Woodside (0+2) 02 Manteca [solo changes] (1+1) 02 One Bass Hit (0+2) 02 Oop-Bop-Sha-Bam (0+2) 02 Seven Come Eleven (0+2) 02 Shag (0+2) 02 Wail (1+1) 01 Passport (1+0) 01 Room 608 (1+0) 01 Serpent’s Tooth, The (1+0)
All of Me All of You All the Things You Are Alone Together Autumn Leaves Back Home Again in Indiana Beatrice Beautiful Love But Not for Me
4. What is considered a standard changes over time. There are compositions common in the 1920s or ’30s that are virtually never played today. Some of the tunes expected of every true jazz musician in the ’40s, ’50s, and ’60s have
30 JAZZed September 2011
03 03 02 02 02 02 02 02 02 01
Blues by Five (1+2) Centerpiece (3+0) Blue ‘n’ Boogie Champ, The Dig Dis Spontaneous Combustion Turnaround Blue Seven (2+0) No Blues [Pfrancin’] (1+1) Bud’s Blues (1+0)
Bebop Blues 25 19 17 15 12 06 04 03 03 03 03 03 03 03 03 02
Billie’s Bounce (17+8) Straight, No Chaser (13+6) Now’s the Time (10+7) Blues for Alice (10+5) Au Privave (7 +5) Cheryl (3+3) Barbados (1+3) Birdlike (2+1) Bloomdido Buzzy [Charlie Parker] Chi Chi Relaxin’ at Camarillo Dance of the Infidels (1+2) Sippin’ at Bells (1+2) Twisted (1+2) Cookin’ at the Continental
Bye Bye Blackbird Cherokee Darn that Dream Days of Wine and Roses Foggy Day, A Have You Met Miss Jones? Here’s that Rainy Day Honeysuckle Rose How Deep is the Ocean? How High the Moon I Could Write a Book I Hear a Rhapsody I Love You I Remember You I Should Care I Thought About You I’ll Remember April If I Were a Bell In Your Own Sweet Way Invitation It Could Happen to You It Had to Be You It Might as Well Be Spring It’s You or No One Just Friends
02 Mohawk 02 Ool ya coo 02 Wee Dot 02 Yabada Ool Ya [Dizzy Gillespie] 02 Parker’s Mood (1+1)
Minor Blues 21 17 08 07 02
Footprints (15+6) Mr. P.C. (10+7) Equinox (5+3) Birk’s Works (2+5) Señor Blues [Latin] (1+1)
14 Watermelon Man  (8+6) 04 Sidewinder (24) (2+2) 02 Alright, Okay, You Win [bridge] 02 Scotch and Water [bridge] 02 Speedball [bridge] (1+1) 02 Unit 7 [bridge] 02 Locomotion [bridge] (1+1) 01 Bikini [bridge]
Like Someone in Love My One and Only Love My Shining Hour Night and Day On Green Dolphin Street (Latin/ swing) Our Love is Here to Stay Out of Nowhere Softly as in a Morning Sunrise Song is You, The Speak Low Star Eyes Stella by Starlight Summertime There Is No Greater Love There Will Never be Another You Way You Look Tonight, The What is This Thing Called Love? When Sunny Gets Blue Whisper Not Witchcraft Yesterdays You Stepped Out of a Dream You’d be so Nice to Come Home To
fallen into disfavor while others have risen. More will become popular while others fade as the years progress. Bottom line: note what is called at various gigs, jam sessions, what is played at local clubs, in the area universities,
lessons learned Ballad
Angel Eyes Body & Soul But Beautiful But Not for Me Come Rain or Come Shine (med) Darn that Dream Embraceable You Georgia on My Mind Here’s that Rainy Day I Can’t Get Started I Should Care I Thought About You In a Sentimental Mood Laura Like Someone in Love Love for Sale Lover Man Misty Moonlight in Vermont My Foolish Heart My Funny Valentine My One and Only Love My Romance (med) Nearness of You, The Over the Rainbow Peace Polka Dots and Moonbeams Prelude to a Kiss ‘Round Midnight Shadow of Your Smile, The (also Latin) Skylark Someone To Watch Over Me Sophisticated Lady Stardust Tenderly There Is No Greater Love Way You Look Tonight, The When I Fall in Love When Sunny Gets Blue Willow Weep for Me
Yesterdays (med) You Don’t Know What Love Is
Afternoon In Paris Airegin Along Came Betty Caravan (swing /Latin) Countdown Dolphin Dance Don’t Get Around Much Anymore Doxy E.S.P. Fee Fi Fo Fum Four Four Brothers Four in One Giant Steps Groovin’ High I Mean You In a Mellow Tone Inner Urge It Don’t Mean a Thing Joy Spring Killer Joe Lady Bird Lazy Bird Lullaby of Birdland Moment’s Notice Nardi Nica’s Dream (swing/Latin) Night in Tunisia, A Perdido Satin Doll Seven Steps to Heaven Solar Speak No Evil Stablemates Stompin’ at the Savoy Sugar Sweet Georgia Brown Take 5
by members of regional jazz societies, etc.., Learn the repertoire of residence. In addition, a foundation of music universal to the jazz idiom should be studied allowing regional flexibility while providing a means for exploration into other avenues of jazz. Knowing tunes that are common across a broad geographical spectrum, understanding difficulty and accessibility by educational year, and a means to balance style and tune types via categorical listing should help teachers and students navigate the 1000+ possibilities.
Take the ‘A’ Train Things Ain’t What They Used to Be Tune Up Well You Needn’t What’s New? Witch Hunt Yes or No
[see Bebop Blues] [see Rhythm Changes] Anthropology (rhythm) Confirmation Donna Lee Half Nelson Hot House Ornithology Scrapple from the Apple Yardbird Suite
All Blues Bluesette Emily Footprints (blues) My Favorite Things Someday My Prince Will Come
All Blues (blues, triple) Cantaloupe Island Footprints (blues, triple) Freddie the Freeloader (blues) Impressions Little Sunflower (Latin) Maiden Voyage Milestones (new) My Favorite Things (Coltrane version) So What
Black Orpheus (A Day in the Life of a Fool) Blue Bossa Caravan (swing/Latin) Ceora Corcovado/Quiet Nights of Quiet Stars Desafinado Girl from Ipanema How Insensitive Little Sunflower (modal) Meditation Nica’s Dream (swing/Latin) Night Has a Thousand Eyes, The (Latin to swing) Night in Tunisia, A (swing bridge) On Green Dolphin Street (Latin/ swing) Once I Loved One Note Samba Recorda me Shadow of Your Smile, The (also ballad) Song for My Father St. Thomas Triste Watch What Happens Wave
Fusion/Contemporary 02 01 01 01 01
Chameleon Chicken, The Comin’ Home Baby Red Clay Señor Blues
Free Jazz 06 01 01 01
Freedom Jazz Dance Blues Connotation Congeniality Lonely Woman
Dr. Mark Watkins has performed and lectured throughout the U.S., England, Wales, France, The Netherlands, Switzerland, Austria, Italy, Slovenia, Canada, Chile, Thailand, Singapore, and The Philippines with upcoming visits to Puerto Rico and Scotland in 2012. Comments regarding his latest CD, FOUR: On a Warm Summer’s Evenin’ include: “I need my Mark Watkins bop-fix! This is great jazz from start to finish - beautiful, intelligent, soulful, swinging and all done with the highest caliber of performance.” (Noah Peterson, Portland), and “…Watkins’s diversified, fresh, and engaging writing results in new discoveries with every listen.” (Ed Calle, Miami) Watkins received his doctorate in five woodwind instruments from Indiana University and presently serves as Director of Jazz Studies at Brigham Young University–Idaho.
JAZZed September 2011 31
2012Fundraiser Gala Education
You are invited to attend the Jazz Education Network’s...
Gala Education Fundraiser The Board of Directors has planned an evening of Southern Comfort food and fun that you will not want to miss! • • • •
Date: Friday, Jan. 6th, 2012 Time: 6-8 p.m. (cocktails 5:30pm/cash bar) Location: Fountain Room, Galt House, Louisville, KY Cost: $60 per person
This special evening will be honoring the inaugural 2012 Class of…
The LeJENds of Jazz Education …the literal ABCD’s of Jazz Education including: Jamey
In addition, the $60 dinner ticket includes a silent auction, a special performance by Jamey Aerbersold’s Quartet, and a LIVE Auction featuring valuable items that will interest all! Sign up today! Come and join the fun!
Our network is growing
JAZZ EDUCATION NETWORK
A MESSAGE FROM JEN PRESIDENT LOU FISCHER “Try to find the best teachers, listen to the finest playing, and try to emulate that. Be true to the music.”
– Wynton Marsalis Wynton’s quote above is the perfect launching pad to begin my message to our membership and friends as we move closer to the upcoming 2012 Conference. What better place to “find the best teachers” and to “listen to the finest playing” than at the 2012 Jazz Education Network Annual Conference, January 4-7 in Louisville, KY! Our lineup is shaping up to be stellar once again and you’ll get a glimpse in the next few pages of all that will be offered this year, including some new events! My how we have grown! As I write this message, JEN Board members have just returned home and are getting back to daily business as usual, after three days of conference focused Board meetings held at the spacious Galt House, home of the 2012 Conference. Our theme of Developing Tomorrow’s Jazz Audiences Today remained front and center as we pulled together the various stages and clinic venues, amongst the usual nuts & bolts of business we had on our agenda. By the way, you can find the JEN budgets posted under the Members Only area of the website. We promised you transparency from the beginning, and our budgets and Board Minutes are posted for Members to review as you see the need. This year the conference will kick off with a Louisville Focus at 8pm on “Imitate, Wednesday, January 4th, during the evening concert, followed by two great late Assimilate, night concerts featuring Kentucky and Kentucky-influenced music and the first and Innovate” installment of the ever so popular JEN Network JAM. Starting bright and early on Thursday, January 5th events run constantly, and concurrently, through the last – Clark Terry performance on Saturday night, January 7th, concluding about 1:30am on the Conservatory Stage with the last installment of the JEN Network JAM!...three and a half jam-packed days of clinics, workshops, master classes, panel discussions, hands-on learning sessions, and a multitude of stylistically diverse concerts featuring vocal and instrumental groups both large and small…and you won’t want to miss a beat! The list of 2012 Performers and Clinicians hail from six countries: Canada, Israel, South Africa, Turkey, United Kingdom and representation from thirty states within the United States. There is absolutely something at the buffet table for everyone to enjoy whether you are a professionally educated scholar or just a connoisseur of GREAT jazz! At this year’s feast we will be filling five performance stages and four clinic venues managed by Jen, plus one Research track venue presented in partnership with the Jazz Arts Group of Columbus Jazz Arts Initiative. Four additional venues will be offering technology-based clinics and/or hands-on sessions presented in tandem during the concurrent 2012 TI:ME Conference (Technology Institute for Music Educators). Remember that your JEN registration credential allows you access to all TI:ME events, and TI:ME participants will be allowed to attend JEN daytime events without extra fees, therefore, there is no need to register separately with TI:ME. Updates are continually being posted at www.JazzEdNet.org where you can click on CONFERENCE CENTRAL and stay informed! Additionally, Housing info, all you ever wanted to know about Louisville, and photos and bios of the performers and clinicians should be up for your viewing now in the same location! I encourage you to visit the site often as we continually work to develop JEN’s home as your portal to the global jazz community. Bass-ically Yours; Dr. Lou Fischer JEN Co-Founder, President email@example.com
JEN Board of Directors (2011-12): Rubén Alvarez, Paul Bangser, Caleb Chapman, John Clayton-Vice President, Orbert Davis, José
JAZZ EDUCATION NETWORK
Third Annual Jazz Education Network Conference January 4-7, 2012, Louisville, KY Developing Tomorrow’s Jazz Audiences Today!
•GALA EDUCATION FUNDRAISER
The conference begins with a Louisville Focus evening concert from 8-10 pm on Wednesday, January 4th that you will not want to miss! We have an exciting lineup followed by the nowfamed JEN Network Hang in the Conservatory area of the hotel. For those that prefer more formal late night concerts we have added an 11:30pm concert by some outstanding pro groups for your enjoyment, along with the student jam sessions beginning on Thursday night. This year’s event features over 90 concerts on five stages, 60 clinics in four rooms, PLUS…
An evening of Southern Comfort food and fun that you will not want to miss! Details to follow in these pages! Log on and purchase your ticket now! New this year is the inaugural presentation of the Class of 2012 LeJENds of Jazz Education! Come join us as we honor the ABCD’s of jazz education…Jamey Aebersold, David Baker, Jerry Coker, and Dan Haerle.
•TI:ME CONCURRENT CONFERENCE A dedicated technology track offering 40+ clinics and workshops in partnership with the 2012 TI:ME (Technology Institute for Music Educators) Conference!
•JAZZ AUDIENCE INITIATIVE RESEARCH TRACK A dedicated Research track in partnership with the Jazz Arts Group of Columbus/Jazz Audience Initiative study. Applications recently closed August 15th so watch for the listings online as soon as possible.
•JAZZ INDUSTRY EXHIBITION
•VOLUNTEER APPLICATIONS JEN needs your special skills! If you would like to volunteer to work at the conference, visit the website today and select Volunteer Application located under Conference Central on the JEN Home Page. Volunteers will be selected based on unique skillsets and conference needs and are being asked to work a minimum of four hours per day. Each volunteer will receive complimentary credentials for the entire conference.
•WHO SHOULD ATTEND Attendees are expected from upwards of 20 countries! Conference programming will cover a broad spectrum of topics and issues of interest related to anyone involved in the teaching, performing, composing/arranging, business, broadcast, presentation, or appreciation of jazz music and jazz education.
Offering 30,000 sq. ft. of Exhibit Space, with capacity for 100 Exhibit Booths and 22 table top displays and they are going fast! Reserve your space today by clicking on Exhibit Information under Conference Central on the JEN Home Page. Exhibitors include universities, instrument manufacturers, music publishers, record labels, tour companies, military bands, music dealers, individual artists, arts organizations and more….
•EXHIBITORS WELCOME RECEPTION
You will want to be at the Official JEN Conference Hotel, the famous Galt House Hotel to enjoy access to all events from your doorstep! The JEN block affords participants the opportunity to select between two towers. With 1300 rooms, at affordable negotiated JEN rates, we can all stay under one roof in the center of all the action!
Everyone is invited to kick off the Jazz Industry Exhibition in grand fashion on Thursday night from 6-8pm with a cash bar and hor douvres and of course…jazz. Come say hello to everyone to get the party started! 34 JAZZed September 2011
Individual early-bird registration including priority seating for the evening concerts is $125 until October 15th! (A $50 savings). Spouse/partner registration is available at $45, and Student Rates available at $35. Available online now!
Nestled up against the Ohio River on the West end of downtown Louisville, the Suite Tower boasts 600 suites (mostly doubles) at approximately 740 sq. ft. with the ability to sleep from 1-4 priced for JEN at $135 per night + 15.01% tax. Located just across Fourth Street about 100 yards away and accessible through the Conservatory indoor bridge, you’ll find the Rivue Tower, which boasts an additional 700 Deluxe sleeping rooms at approximately 400 sq. ft., again mostly doubles, with the ability to sleep from 1-4 people, priced at $115 per night + 15.01% tax. Note that parking for JEN participants has been negotiated at $7 per night for self-parking. Internet is free in all sleeping spaces and lobby areas. Bus parking is available on site in limited quantities. There are 5 restaurants on site and upwards of 200 more within a four block radius of the hotel. Additionally, the Galt House is connected to 4th St. Live! Via the famed LouLink Skywalk system. Book your space for the 2012 JEN Conference now! The Galt House Hotel • 140 N. Fourth Street • Louisville, KY 40202
•JEN SILENT AUCTION ONLINE – Coming Soon! Watch for the JEN Silent Auction Online, scheduled to premier October 15th featuring items for Silent Auction that you can bid on to use in Louisville in January!
•SPONSORSHIPS Various levels of sponsorship for the 2011 Conference are currently available to you and/or your organization. Visit the JEN Home Page for details and select your opportunity to be an Associate or Program Sponsor for the event.
•HOSTING A SPECIAL MEETING OR RECEPTION? If you are in need of a location to hold your own Special Event, meeting or reception during the conference, we are able to pass on special low rates on a per hour basis to you as a JEN member benefit. Want to bring your alumni together? Want to bring your constituency group together? Availability is limited and will be offered on a first-come first-served basis. Call directly with inquiries to JEN Office Manager Larry Green: 573-692-0012
We are continuing our drive to secure used instruments and/ or combo/big band arrangements in partnership with the Louis Armstrong Jazz Camp in New Orleans. Bring your used goods to the JENeral Store at the conference and help strengthen these programs!
Selected List of School/Community Ensemble Performances:
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Berklee Concert Jazz Orchestra Bluegrass Area Jazz Ambassadors (BAJA) Brubeck Institute Jazz Quintet CCM Prep Jazz Explosion Central Washington University Jazz Band 1 Chicago Academy for the Arts Jazz Combo Chicago State University Community Jazz Band Columbus Youth Jazz Orchestra Conner Middle School Jazz Ensemble DePaul University “Phil Woods” Ensemble Florida A&M University Jazz Ensemble 1 HSPVA Jazz Combo I Humber Studio Jazz Ensemble-Canada Indiana University Latin Jazz Mixtet Louisville Leopards Percussion Ensemble Millikin University One Voice Milton Academy Jazz Combo Mississippians Jazz Ensemble (Ole Miss) North Hardin High School Jazz Ensemble Northern Arizona University “High Altitude” Northern Kentucky University Vocal Jazz Ensemble
Selected clinicians and clinic titles, pro performers, school and community ensembles and soloists follow on the next couple of pages. The Jazz Education Network reserves the right to make program changes as necessary.
Solstice: Cheverus High School Portland, ME South African Jazz: Music Academy of Gauteng (MAG) Southeast Polk High School Jazz One STAMPS Jazz Quintet/University of Miami Temple High School Highlighters Tennessee State University Jazz Collegians Thelma Yellin Big Band - Israel UIUC Jazz Vocal Ensemble UMASS Studio Orchestra with Sheila Jordan University of Central Oklahoma Jazz Ensemble One University of Illinois Concert Jazz Band University of Kentucky Jazz Ensemble University of Louisville Jazz Ensemble I University of Missouri Concert Jazz Band Western Michigan University Advanced Jazz Combo
Selected List of Professional Ensembles & Soloists Performances:
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50th Anniversary Celebration of Oliver Nelson’s Blues and the Abstract Truth Jamey Aebersold Quartet Afro Bop Alliance Ansyn Banks Quintet Bass Extremes featuring Victor Wooten & Steve Bailey
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JAZZ EDUCATION NETWORK
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Alan Baylock Orchestra Buselli-Wallarab Jazz Orchestra Rondi Charleston Quintet Kathryn Christie Quintet Columbus Jazz Orchestra, artistic director Byron Stripling Phil DeGreg Samba Jazz Syndicate Ron Di Salvio Trio Peter Eldridge Group East-West Trumpet Summit: Ray Vega & Thomas Marriott Kahil El’Zabar’s Ethnic Heritage Ensemble Danny Gottlieb Collective: Chris Kozak, Tom Wolfe, Beth Gottlieb Luke Gillespie Trio Dan Haerle Trio Jeff Hall Monika Herzig Acoustic Project Chris Humphrey Quintet Jazz Ambassadors of the United States Army Jazz Professors (University of Central Florida) Knoxville Jazz Orchestra Bob Lark and his Alumni Big Band Luchette Trio Mad Romance Sherrie Maricle & Five Play Jason Marsalis Group Mel Martin and the Benny Carter Tribute Band Chip McNeill Quintet Miami Saxophone Quartet Mistaken Identity Gunnar Mossblad Group Ed Neumeister Quartet Nighthawk (Washington State University Faculty Jazz Ens) Opus 3 Jazz Trio Osland/Dailey Jazztet Ken Peplowski/Shelly Berg Quartet Harry Pickens Group Suzanne Pittson Quartet Josh Quinlan Quintet Rhythm and Bows Revue featuring Randy Sabien Larry Ridley & the Jazz Legacy Ensemble Kate Ried Quartet Ellen Rowe Quartet with Ingrid Jensen Laila Smith Dave Stryker Organ Trio Jerry Tachoir Group Jerry Tolson Quintet Third Coast Vocals (3CV) Three As One: Steve Houghton, Lou Fischer & Stefan Karlsson Tracy-Vasconcellos Brazilian Ensemble TRPTS (Trumpets) with Mike Vax University of Toledo Jazz Faculty Group Voice Meets Bass Jack Wilkins Blue and Green Project
Selected List of JEN Clinics & Panel Discussions:
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Kris Adams - Sing Your Way Through Theory Jamey Aebersold - Anyone Can Improvise Ariel Alexander - Dig Dis! Making the Most out of Your Transcription Jeremy Allen - Jazz Bass 101 for the Non-Bassist Band Director Steve Bailey - Bass Doubling, the scholastic and career benefits outweigh the effort. Jennifer Barnes - Choices in Vocal Jazz Ensemble Directing Edward Berger - Benny Carter: New Discoveries from his Personal Archive Andrew Bishop - Online Annotated Discography of Jazz Improvisation Devices Judy Chaikin - The Girls in the Band Brian DiBlassio - Building an Authentic Rhythm Section for Latin Charts Diane Downs - How to Develop a Community Jazz Ensemble Doug DuBoff - The Preservation, Publication & Performance of Vintage Big Band Music (The 3 “P’s”) Malcolm Earle-Smith - Exploring Early Jazz: An Experiential Approach to Jazz History for Young Jazz Musicians Rosana Eckert - Vocal Improvisation: Letting Rhythm Lead the Way Peter Eldridge Concepts in Song Writing Kamil Erdem - Suggesting a Leading Role for the Bass Guitar in World Music Richard Falco “Bringing Jazz History into the 21st Century: Engaging your students in living history through the Jazz History Database Project Steve Fidyk - Big Band Drumming At First Sight Jeremy Fox - The A,B,C’s of Vocal Jazz Arranging: a method for teaching yourself (& your students) the basics Hal Galper - Forward Motion, From Bach To Bebop, A Corrective Approach To Jazz Improvisation John Goldsby - Playing with Words: The Jazz Musician’s Guide to Writing about Music Jeffery Gorham - Copyright Pit-falls: How to License Works Properly Dan Haerle - Guide Tones and Color progression in improvisation Darla Hanley - Creative Jazz Teaching Strategies for Children Based in Literature Monika Herzig - David Baker: A Legacy in Music Steve Houghton - Drum Set 101 Heath Jones - Sequential Motives in the Jazz Language John LaBarbera - Forty Years of Arranging Techniques & Aesthetic Choices Lori Lacey - Getting Started wth Jazz Strings Robert Larson - Choosing Textures: A Systematic Method for the Novice Arranger Mark Levine - So, you’ve learned all your chords and scales, now what? Sherry Luchette - Jazz Education for Kids Round-table Discussion Joe McCarthy - Contemporary Afro-Cuban Big Band Chart Reading and Style Analysis Bob Mintzer - Expand Your Jazz Vocabulary with Jazz Etudes: Improvise Now Ed Neumeister - Creative Practicing / Practice Creatively: a guide to getting the most out of your practice sessions. Miles Osland - Jazz Phrasing for Key and Button Pushers (and others) Harry Pickens - From Stage Fright to Standing Ovation Louise Rogers - Jazz For Young Children: Jazzy Fairy Tales Ali Ryerson - Ali Ryerson’s Jazz Practice Method Bobby Sanabria - The Latin Side of Jazz: Much More Than A Footnote Peter Saxe - Piano Comping Dean Sorenson - Jazz Rehearsal Game Plan Jim Tinter - Jazz Improvisation for Juniors Zvonimir Tot - Teaching jazz guitar harmony Michael Tracy - Brazilian/American Styles and Approaches: A Comparison of Similarities and Differences Mike Vax - Techniques for Successful Section Playing in a Jazz Ensemble
• Christopher Venesile - The Acquisition of Pedagogical Content Knowledge By Vocal Jazz Educators • Tom Walsh - Saxophone “How to”: from Johnny Hodges to John Coltrane • Harry Watters - Power Practicing for the Trombone • Ken Watters - Trumpet Practicing Techniques • Michael Wolff - How to Utilize Harmonic and Rhythmic Tension and Release to Free Yourself • Vocal Jazz New Music Reading Session • Instrumental Big Band Reading Session with the Army Jazz Ambassadors • JEN Composition Showcase
Selected List of TI:ME (Technology Institute for Music Educators) Conference Clinicians & Panelists:
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Ariel Alexander - Teaching Jazz with Garageband Steve Bartkoski – Studio Quality Recording On the Go. . .Really? Stuart Dailey - Music Connects to Academic Achievement Rick Dammers and Denis DiBlasio - Jazz Tech: Using Technology to Support Improvisation Kelly Demoline - Jazz Chords & Scales: Software for Listening & Understanding Musition & Auralia Hands-On: Integrating Theory & Ear Training Software Into Your Jazz Program Matthew Etherington - Facebook: Inside (and Outside) your Classroom Barbara Freedman - FREE Technology for Musicians and Music Educators; iPads in Music Education Jeff Gorham - Copyright Pit-falls: How to License Works Properly Daniel Gregerman and Michael Miles - Jazz/Cultural Exchange Concerts via Skype Jonathan Gunnell - Teaching With Max/MSP Matt Harder - “The Electronic Music Ensemble: The ‘What’, the ‘Why’ and the ‘How’” “Logic Pro Software Instruments: Synthesis, Sampling, and the Sea of Terminology” David Hawley - SmartMusic 2012 in Your Music Program SmartMusic 2012: The Complete Jazz Practice Solution Thomas Heflin - Bringing Jazz History to Life Through Multimedia Presentations Hans L. Jakobsen and Quentin Nicollet - Music Technology at the service of Jazz tuition: EarMaster 6 Nick Jaworski - Teaching Music Through Technology (And Not the Other Way Around) Kuzmich Jr, John The Music Technologhy Magic of Digital Play-Along Recordings Tom Johnson - Finale 101 for Jazz & Finale 2012 for Jazz Robert Keller - Improving Improvisational Skills Using Impro-Visor (Improvisation Advisor) Keith Mason, Mark Lochstampfor and Rick Schmunk - Music Technology as an Applied Creative ToolManzo, V.J. Creating Custom Software for Composition, Performance, and Instruction Easily with Max/MSP Richard McCready - Making Music with GarageBand and Mixcraft Kelly McKinley - Teaching Music in the 21st Century: Using Web 2.0 Tools to Motivate Students to Practice MIDI/USB All Stars performance Joseph Pisano - iPad/iPhone Applications For Performing Musicians -an iDevice ENABLED session. Twitter and PR for your BAND (or any other music group) Bret Primack - How Musicians Can Utilize Web Video to Reach A Global Audience William Purse - “In The Loop” Floyd Richmond - Distance Learning for Music Educator
• Floyd Richmond and Mark Lochstampfor - Audio Mixing Basics 101 & Audio Mixing Basics 102 • Andrew Surmani - Music Theory Made Easy! EMT 3.0 Education Technology • Richard Sussman - Teaching Jazz Composition and Arranging In The Digital Age; Creating a Music Technology Curriculum Within a Jazz Education Program • Andrew Zweibel - Social Networking for Music Educators: The 4 “C’s” of Social Networking
• Advance Music • Airmen of Note • Alfred Music Publishing, Inc. • Capital University • Columbia College Chicago • Conn Selmer, Inc. • Cultural Tour Consultants, Inc. • Bob Curnow/Sierra Music Inc. • Dansr, Inc. • D’Addario Strings, Inc. • Ron DiSalvio • Eastman Music Company • eJazzlines/jazz publications, Inc. • Grammy Foundation • Mark Gridley/Jazz Styles • Jamey Aebersold Jazz Aids • Jazz Arts Group of Columbus • Jazz at Lincoln Center • JazzTimes Magazine • Jupiter/Mapex/Majestic/XO • Kendor Music Publishing, Inc. • Dana Legg Stage Band • Hal Leonard Music, Inc. • Louisville Convention & Visitors Bureau • Manhattan School of Music • Meadow Run Music • Monterey Jazz Festival • Music For All, Inc. • Remo • Sabian Ltd. • Sher Music Inc. • Stanton’s Sheet Music, Inc. • Billy Strayhorn Songs Inc. • Susumu Watanabe • Symphony Publishing, Inc. • University of Kentucky • University of Miami Frost School of Music • U.S. Army Field Band - Jazz Ambassadors • U.S. Army Recruiting • University of Southern California Thornton School of Music • Vic Firth, Inc. • Yamaha, Inc. and much MORE to come!
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networthynews JAZZ EDUCATION NETWORK
Publication of “David Baker - A Legacy in Music” on Indiana University Press is set for late October 2011. Monika Herzig (IN and JEN Board member) says to mark the calendar for the initial release event on Sunday, November 6 at “KRC Catering” in Bloomington featuring Brent Wallarab’s IU jazz ensemble, and much more. Many of the contributing authors will be present to sign copies, dinner buffet starts at 6pm. Further events will be a celebration in Indianapolis on December 21, David’s 80th Birthday, and a variety of events at the“Jazz Education Network (JEN) conference in Louisville, January 4-7. Yamaha artist Frank Catalano (IL) of Chicago was featured in the New York Times on his growing sax collection. Catalano consults on saxophone designs for Yamaha and receives pre-production versions of new models. Yamaha also
sends him a finished version of each horn. That alone keeps his collection growing! Mr. Catalano, who at 34 has performed professionally for more than two-thirds of his life, has also become a savvy appraiser. He owns an alto that was played by the brilliant saxophonist Cannonball Adderley and a tenor saxophone that is rumored to have belonged to the iconic tenor man Lester Young. As a musician, Mr. Catalano is known for the exuberance of his solos, and he speaks with rapid-fire energy in a high-pitched voice, barely finishing one sentence before hitting the next. The Monterey Jazz Festival has just honored the four-time Grammy-winning trumpeter, composer and bandleader, Terence Blanchard, at its Annual www.montereyjazzfestival. org/2011/artists/2011-jazz-legends-gala” Jazz Legends Gala
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on Thursday, September 15, 2011 at the Hyatt Regency Monterey Hotel & Spa in Monterey, California. The Jazz Legends Gala, now in its fourth year, features the presentation of the distinguished Jazz Legends Award to a leading contributor to the world of jazz. Previous recipients of the award include pianist Dave Brubeck, bandleader Gerald Wilson, and impresario George Wein. Alongside the presentation of the Jazz Legends award to Mr. Blanchard, the evening included a cocktail reception, gourmet dinner, silent auction and a special performance by the Grammy-winning pianist and 2011 Monterey Jazz Festival headliner, Hiromi. Special guests included Monterey Jazz Festival Board Director, Clint Eastwood and his wife Dina. “Our Jazz Legends Gala is a wonderful opportunity to help raise awareness and generate funds for our jazz education programs while at the same time honoring some of the fantastic artists who have helped create the legacy of the Monterey Jazz Festival,” said Tim Jackson, Artistic Director of the Festival. “We are honored to celebrate Terence Blanchard this year, as he has made innumerable contributions to the Monterey Jazz Festival through his many performances here, his role as the 2007 Artist-In-Residence, and as a key member of our 50th Anniversary Tour in 2008.” JEN member Anita Brown has written a piece commemorating 9/11. The Anita Brown Jazz Orchestra will present the World premiere of STAND: A Symphony for Jazz Orchestra featuring the U.S. Marine Corps Silent Drill Platoon from Marine Barracks in Washington, D.C. on September 10th, at 2:00 p.m. at Nyack, N.Y. in Memorial Park. This event is a production of an original work of performance art combining original music and an existing choreographed military drill set against the back drop of the Hudson River tying Nyack readily to The Word Trade Center. Larry Kart, author of “Jazz In Search of Itself” (Yale University Press) says “STAND represents potently Brown’s subject and goes well beyond mere representations into the realm of deep and novel expression, both musically and emotionally. Listening, one come to know and feel tings about 9/11 and its
networthynews JAZZ EDUCATION NETWORK
aftermath that one didn’t know and feel before.” For more information or to assist in the project visit www.standsymphony. com …….In the D.C. area and want to know about jazz happenings? Visit CapitalBop.com for the latest updates. Lisa Kelly and J.B. Scott (FL) will be performing at the Suncoast Dixieland Jazz Classic Festival in November 18th20th. This very prestigious (and fun!) festival is held in Clearwater, FL. and presents 15+ high level, highly entertaining, jazz artists & groups for a weekend full of great music! Like the other groups/artists, they will be performing at least 5-7 sets throughout the weekend, with Lisa singing on the “Diva Set.” What better way to spend November than in sunny/beautiful Clearwater, in the air conditioning of several top shelf hotels overlooking beautiful water, eating & drinking, buying all kinds of great CD’s & ‘jazzy’ stuff, and listening to jazz, jazz, jazz with other jazz fans! See www.Kellyscotmusic.com for more info.
The Music Of Art Blakey----The University of Minnesota Jazz Ensemble I and Jazz Combo I, under the direction of Dean Sorenson (MN) and Phil Hey, will present music made famous by the one and only Art Blakey on Thursday, October 20th at the Ted Mann Concert Hall at 7:30 p.m. on the UM Campus. Blakey was a force in jazz for decades as leader of the Jazz Messengers. Composers such as Wayne Shorter, Freddie Hubbard, and Bobby Timmons will be featured. Jack Furlong’s (NJ) third album “And That Happened” reached #4 on the CMJ Jazz Chart in New York and #5 in Canada this summer. The Assistant Jazz Band Director and Director of Athletic Bands at Lafayette College is known for his skill and artistry as a baritone saxophonist. “When I first heard the opening notes of ‘McNeely and Me,’ I knew the album was going to be one I would listen to repeatedly... Jack’s writing [really stood out for me],” said JazzOn2 89.1 HD2’s James Jarvie. Producing originals with a unique retro flavor, in addition to classic charts, Jack Furlong incorporates programmatic music (ie. James Bond, Super Mario Brothers, Take Me Out to the Ballgame) that adds a twist. Furlong’s music styling is a hybrid of traditional jazz heavily influenced by legends such as Gerry Mulligan, Miles Davis, Count Basie, and John Coltrane. An accomplished performer, Jack often plays three to five in-
struments during performances; leads the Jack Furlong Quartet, and has shared the stage with many notable greats such as Mulgrew Miller, Ken Brader, Jim McNeely, Dave Dempsey, Arturo O’Farrill, Jim Pugh and Rich DeRosa. He received his B.A. in in Music from Lafayette College and his M.M. in Composing and Arranging from William Paterson University. Furlong’s musical work spans many aspects, including performing, composing, arranging, and teaching. He has performed in orchestras for shows such as Damn Yankees, City of Angels, Crazy for You, The IT Girl, The Goodbye Girl, Johnny Guitar, Curtains, and Cinderella. Jack Furlong performs throughout the upper East Coast. U.S. Congressman and noted jazz supporter John Conyers (who spoke at the 2nd JEN Conference in New Orleans) recently introduced a bill to establish a national center of jazz preservation. In an open letter to colleagues, he wrote about his initiation of the National Jazz Preservation and Education Act of 2011, designed to help preserve the country’s jazz heritage and educate America’s youth about this national treasure: “My legislation would establish a National Jazz Preservation Program at the Smithsonian Institution’s National Museum of American History. The Program would create oral and video histories of leading jazz artists, acquire, preserve and interpret artifacts, and conduct exhibitions and other educational activities that would enable generations of Americans to learn about and enjoy jazz. Lastly,” he adds, “the bill would resurrect the historic Ambassadors of Jazz Program, which the U.S. State Department launched back in 1956, and the more recent Jazz Ambassadors Program, operated by State’s Bureau of Educational and Cultural Affairs from 1997 to 2006. Both programs sent noted American jazz musicians abroad to perform.” To contact Rep. Conyers, visit http://conyers.house. gov/.
Submit your Networthy News items to NetworthyNews@JazzEdNet.org and see you in Louisville for the 3rd Annual Jazz Conference!
JAZZed September 2011 39
“Young musicians want to be challenged. They want to have someone tell them that they’re capable of amazing things because, once you give them that permission, they’ll go ahead and do the work and make it happen.”
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Makes World Tour Pros Out of Utah Teens By Matt Parish
For those looking for a savior of jazz education, mildmannered and sparsely populated Utah probably isn’t high on the list of scouting locations. But that’s where ambitious private teacher-turned-bandleader Caleb Chapman calls home, and he’s gone a long way toward creating one of the most successful youth jazz programs in the country. What’s more he’s done it all with local kids. JAZZed September 2011 41
Chapman runs the twelve-year-old Caleb Chapman Music and the fledgling Caleb Chapman Institute, programs that he’s slowly developed based on a meat-and-potatoes love for jazz and a strong music education background of his own. An avid saxophone player through high school, he first got the conducting bug when given the helm of his all-state high school band in New Hampshire. He moved to Utah from his hometown of Derry, N.H. to study music at Brigham Young University and nearly enrolled at business school before starting a private instruction business on a whim. In 1999, he opened The Music School, a sprawling program of individual lessons and ensembles including early versions of his stalwart groups the Crescent Super Band and Little Big Band. He pared down to simple ensemble direction in 2008, taking the reins of each group of middle and high school students himself, and the results have been striking. His bands frequently travel the country and, in some cases, the world, performing in festival slots usually reserved for world-class professionals. Chapman now serves as an education expert with the Jazz Educators Network and has seen his approach sought after by Juilliard School of Music, Berklee School of Music, and high
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school administrators across the country, many of whom hope to sign on to Champan’s new satellite programs starting this year. His flagship band, the Crescent Super Band, remains the only musical group to perform at the halftimes of NBA’s Utah Jazz games in Salt Lake City, and has been named the Best Band in the Country twice by DownBeat Magazine. The group has also won four “best in state” awards in Utah as well as the BOSS award for top organization in Arts and Entertainment in the state, beating out all other professional groups. They’ve performed with over 200 guest artists including Christian McBride, Joe Lovana, Peter Erskine, and Bob Mintzer. All this by a band that comprised totally of Utah natives that meet once a week for two hours. And none of them are over 18 years old. Chapman spoke to JAZZed about the unorthodox path he’s taken to get his students to work toward such a consistently high level, how he handled a few bumps along the way, and what’s in store as his program begins its expansion beyond the borders of the Beehive State.
JAZZed Magazine: You have a sprawling program of activities for your students, so let’s start by getting a lay of the land. What are the different ensembles your students can get involved in? Caleb Champan: Currently the program consists of eight different bands. It’s a contemporary music program so some of the groups are pop-oriented as well, but the majority are jazz ensembles. Our flagship group is the Crescent Super Band, who’ve been in heavy rotation on the Real Jazz channel on Sirius/ XM since last October. That’s pretty cool. I’ve got a lot of friends who are Grammy-winning jazz musi-
cians that have a hard time getting their music played on the Real Jazz channel. So to have a bunch of high school kids from Utah be in rotation for that many months is pretty exciting! I’m not gonna lie. I think it’s a real tribute to the work that these kids put in. The other groups are The Voodoo Orchestra, which is big band stuff with jump swing; Caribeña, which does Afro-Cuban stuff like Tito Puente’s big band; the Soul Research Foundation, which has a Tower of Power kind of configuration; the Crescent Octet, an all-star combo; and the Little Big Band, which is the junior high big band. JAZZed: Tell us how your adventures in jazz education began.
“It doesn’t matter how good our teaching methods are for improvisation or technique or if nobody has access to them. “
CC: I started my program back in 1999 originally as a community musical school with private teachers and things like that. Then in 2000, we started doing some ensembles. We started with a junior high all-star jazz big band and then it took off from there. I invited some other teachers that I felt shared the same values and quality of instruction that I had set. And so when we opened up, we had maybe even 200 teachers between the six to ten teachers. We grew that to the Music School, where we had 1,500 students and I had 100 instructors working for me. But everything I loved about education and all this stuff – I looked in the mirror and I wasn’t doing any of it. I was an administrator. My job was a mix of being a public school administrator and a corporate CEO. I spent my time managing people and balancing budgets and doing spreadsheets and doing investor meetings and I realized, “This is not what I want to be doing!”
One shared passion
EASTMAN SCHOOL OF MUSIC JAZZ & CONTEMPORARY MEDIA FACULTY Jeff Campbell, chair, double bass Harold Danko, piano Bill Dobbins, composition/arranging Clay Jenkins, trumpet Mark Kellogg, trombone Charles Pillow, saxophone Dave Rivello, ensembles Bob Sneider, guitar Dariusz Terefenko, theory Rich Thompson, drums
JAZZed September 2011 43 ESM11_JazzEd_Back2School.indd 1
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JAZZed: Was there a problem with the economy tanking at about that time in 2008? CC: Right, the economy tanked and the investors of the school at that point were in control. They were calling the shots and their other companies, just like everybody else, just weren’t doing well and decided that they wanted to move on and not be
part of that. I got some incredible friends in the industry and there were plenty of people who came to me afterwads that came to me and said, “Here’s the money to keep doing what you’re doing.” It was a great opportunity for me to go, “Thanks, but that’s actually not what I want to be doing.” I wanted to be directing bands, creating the educational component, not just be an administrator.
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What I’m doing now feels like I’m contributing. Even with the numbers – I’m working with 150 students instead of 1500 students so you might say that’s a step backwards, but I’d say it’s not because we’re able to dramatically impact the lives of those 150 students. And the beauty of this program is that each of these kids is required to be contributing, active leaders and members of their public school music programs. So by really having a high-quality program available to these 150 students, that’s actually impacting thousands of students across Utah. JAZZed: Your curriculum has been picked up and recognized by so many schools as this program has gained success – what’s made it special? CC: Well, that’s the question, you know? I’ve had some of the publishing companies approach me about writing a book or doing a video and I’ve thought about it, and I’m not really sure that I’ve got any secret sauce or any special techniques. I have an articulation technique that I’ve developed that’s kind of proprietary, but I don’t think that’s what makes the difference. I think what it comes down to is simply setting the expectation level higher than most people think you can set it, and then clearly articulating those expectations to these young musicians. I think as educators, so often, we simply don’t set the bar high enough. Young musicians want to be challenged. They want to have someone tell them that they’re capable of amazing things because, once you give them that permission, they’ll go ahead and do the work and make it happen. JAZZed: Now are these really all just local Utah kids? How far are they traveling for class?
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CC: If you’ve ever been to Utah, you know there’s two parts – the part where people live and then there’s the part where nobody lives. The average is about an hour’s drive for all the kids. Some are closer, and I’ve had some kids that drive three and a half hours each way to rehearsals. I had a kid that would fly in because he was
JAZZed: Do you think the locale plays into the success of the program?
The Crescent Super Band performong at the Umbria Jazz Fest in Perugia, Italy.
about four-and-a-half hours away. He’d fly in and out of every rehearsal and he made it every time. It was the most
insane thing I’ve ever seen. But most of the kids are from the Salt Lake area – Oren, Provo, Park City.
CC: I think the exciting thing about this program is that it absolutely could be done anywhere and I think the fact that we’re doing it in Utah is testament to that. It’s not like there’s something in the water here in Utah where we have this incredible individual talent. I think for the most part, as kids start in my program in junior high, they’re kind of average kids that are just willing to work really hard. Regardless, there were over $1.5 million in scholarship offers between 26 kids that graduated from the program last year. You do the math on that. And most of these kids have a 3.9 or 4.0 GPA, and they’re going to be success-
JAZZed September 2011 45
ful. They’re going to be arts advocates for the rest of their lives and they’re going to play music for the rest of their lives and they’re going to be people supporting the arts. That’s what we really need. We don’t really need tens of thousands of new professional musicians, you know? [laughs] It’s nice, but we’ve got plenty of great musicians right now, many of whom are starving. That’s why I think a program like this is important. JAZZed: You only get two hours a week with each of these groups – how do you organize things so everything gets done so efficiently? CC: To the outside world, is this a music school? Yeah, I guess it is and I’m a music educator. But the way I talk about it to the kids and to the parents, I don’t ever mention the word “school” or “music education” or any of that stuff. We talk about this as a professional musician training program. They’re auditioning for spots in a professional band, every group, even the junior high groups, we run as professional bands. And so that means if you’re going to miss a rehearsal, you have to send a sub. Once we hand out music, the next time you show up for rehearsal it’s expected that that music is perfected. When we have gigs, you get docked on your pay if you’re late for sound check or any of that stuff. Chapman with Super Band guest star Christian McBride.
JAZZed: So the bands function like the real-world working bands?
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CC: When these kids go on tour, a good chunk of their fees or all of their fees in some cases are covered by the gigs they’re doing. So where a lot of high school bands are out selling candy bars, these kids are out playing shows and making real money to pay for their programs. They work. The Super Band just did two shows here before they left for Europe where they got paid $10,000 for one night and $15,000 for the other night. I mean try to find college bands getting paid that kind of money, you know? Or professional groups. I mean I have Grammy winning musician friends who will call me up and say “Hey I’m in town, if you can get 500 bucks together, we can come play with the group.” I mean, we don’t take it for granted. What it means is more opportunities for these musicians to be performing, to tour, to improve their musicianship and to just grow as individuals.
JAZZed: I’ve noticed the group even has pro endorsement deals. CC: Right, just like the big guys have, where they’re featuring them in their advertising and sponsoring them
in clinics and stuff like that. The companies that are working with us right now are Rico, Evans, Cannonball, ProMark, D’Addario, Yamaha. I think it’s really cool that the companies are realizing they need to support education
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and not just the big celebrities because if we don’t have support for education and these programs it all goes away, like I say. JAZZed: Here’s a professional dilemma for you then – is there ever a danger in customizing your performances too much to grab those kinds of gigs and miss out on certain areas of the music you could otherwise be focusing on? “Selling out,” maybe? CC: Sometimes there’s an attitude in jazz where we play the music that we want to play and if the audience doesn’t get it, then they don’t get it. And of course that attitude brings us to where we are today, where there aren’t audiences for jazz music and there are no record sales, right? I get really frustrated with that.
them, like, “The Music School Jazz Band A.” Who wants to be part of that? I want to be part of the “Soul Research Foundation.” I want to be part of the “Crescent Super Band” or “The Voodoo Orchestra.” So you’ve got the concert tees and the CDs and you’re on the road and that’s the real thing! It’s exciting. So no, it was the opposite. I think that was part of the success and it helps us with the attitude of, “We’re going to make these demands of you as far as quality goes because it’s a professional group.”
“They’re going to be arts advocates for the rest of their lives and they’re going to play music for the rest of their lives and they’re going to be people supporting the arts. That’s what we really need.” So you’re absolutely right to wonder about that, but for me it’s not a conflict. What I’m running is a professional musician training program. And I think it’s really important for these musicians to understand that for them to find fulfillment, they need to pursue the kind of music that really speaks to them. That may or may not be the music that’s going to connect with audiences, but they need to be able to play music that’s going to connect with audiences and play it with integrity. It just takes some effort. A lot of times maybe jazz musicians especially take the easy way out and say, “I’m just gonna play this and that’s what I want to play.” JAZZed: Was there any hesitation about deciding to run the groups like professional groups? Any pushback or insecurity from the kids or parents? CC: What was important for me as a young musician was that I wanted to be part of something real. I’m very careful with my groups – we don’t call 48 JAZZed September 2011
JAZZed: Was part of the “pro band” concept to avoid having to secure donations and grants, or was that a happy accident? CC: I’m on several non-profit boards and you spend 50 hours filling out the form for a grant to get $300. I want the program to be good enough that parents are willing to pay tuition to be a part of it and I want the music to be good enough that people are willing to pay to see and buy tickets to come to it. I don’t want to have to rely on grants and other funding. That’s been a big deal to me from the beginning to not go the non-profit route and walk around looking for handouts and grants and kind of begging. I feel like we need to work to make what we do quality enough that people are willing to support because they want it, not because there’s some kind of obligation to fund the arts. Again, we’re in a bankrupt country, so if we’re counting on the country to bail out jazz, it ain’t gonna happen. We
have to do this on our own. As musicians and educators. You can quote me on that. JAZZed: How did you begin working with these big names that are involved with the program? Who was the first person that walked in to work with you? CC: As a young musician growing up around Boston, it was my dream to just shake hands with Branford Marsalis or Michael Bradford or get an autograph or something. To me, they seemed to unapproachable, like I’d get the magazines religiously as a kid and I devoured music and was such a huge fan. But the first year I had the Super Band, I thought, “What would it be like if we could get just one artist to come play with them?” You know, just once! So I dared myself to start calling guys and see if I could get anybody to come play with them. I remember exactly where I was and the whole conversation when my phone rang and it was Bob Berg. He was just one of the guys I’d always worshipped. I picked up the phone and he was like, “Hi, is this Caleb? This is Bob Berg.” I couldn’t even talk. I was totally star struck. But he agreed to come out and do a show with the band. We sold the show out and it was the first – it kind of set the stage for everything that happened since. It was like five or six months after that performance that he was killed in the [automobile] accident. But luckily for us, he was so excited about it that he told a few guys before he passed away and one of those guys
was Randy Brecker. So I called Randy because we wanted to do a tribute to Bob the next year. He came out and loved it and started telling everybody, so it just snowballed from there. Since then, we’ve had so many guys come out. JAZZed: How big is it to have the kids work with these kinds of musicians on a regular basis? CC: It’s a big, big part of it. Over the course of a year, if you’re in the CSB, you’re probably going to play with 10 to 15 A-list artists. I think in my entire high school and college career, I played with zero. [laughs]. Just this week, on Saturday night, the Super Band did a show with Jeff Coffin from Bela Fleck and the Flecktones and the Dave Mathhews Band now. It was our feature show with “special guest Jeff Coffin” at a 2,000 people outdoor venue. The kids want to show the guest artists that they can play at that level. That they can hang and that they can do it. So I’m trying to convince them that they’re a professional band and there’s nothing better for that than for them to actually be the professional band for these guys. Last summer, they were Toshiko Akiyoshi’s backup band at the Teluride Jazz Festival. I mean I know pro guys that are scared to death to sit in Toshiko Akiyoshi’s band, and here are these high school kids throwing it down. JAZZed: What’s the touring schedule like for the bands? CC: I try to make sure each of the bands has one tour during the year and try to limit it to that with the younger groups. Again, these musicians are all involved in their school programs as well, and are involved in sports. The Super Band is a different story. Especially in the summers during the festival season, they’ll be out at least a couple weeks. Again, it’s not like a completely professional band – they’re all high school students. But they’ll probably do a good three to four weeks of traveling per year. JAZZed: And what are your plans with the new Caleb Chapman Institute?
CC: It’s building on the success of this ensemble program. I’ve gotten accredited, meaning we can offer high school credit and grading. So we’re offering ensemble programs to musicians that don’t have access to it in their educational settings, to private schools that don’t have bands or orchestras or home schoolers or schools where they’ve already cut the programs. Places where ensemble opportunities don’t exist that this program makes those ensemble opportunities available to them. It’s a hybrid learning program, so part of it is done online and part of it’s done in person. We’ve had a lot of success with these kids getting together once a week for two hours and we really think that can be replicated. We’re hoping this can be a solution to bring music programs back to the areas where they’ve been removed. We feel like the education product is going to be something that school districts and smaller schools can afford but still be high-impact and high-quality.
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JAZZed: Will you be working with teachers from your old program? CC: We’re using the very, very best public school educators in Utah for this pilot program this year, then we’re going to be launching in California and Nevada and Arizona next fall. It’s a bit different personnel than I employed previously, but we’re really excited about it. And really, all of this goes away if we don’t find some way to make education available to kids again. It doesn’t matter how good our teaching methods are for improvisation or technique or whatever if nobody has access to it. And without making education available, I think the consumers start to disappear pretty quickly. I don’t know, this year JEN and Berklee awarded me the John LaPorta Jazz Educator of the Year award, and it was kind of a shock, you know? I wasn’t planning to be doing this. I was planning to be working at a computer at some corporation. I’m not sure how we ended up here but I really feel like I’ve got the best job in the world. Since they honored me with that award, I really feel like now I’ve got to go earn it.
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I M P R O V I S AT I O N
Two Chords, Many Possibilities! BY ANTONIO J. GARCÍA
© 2011 Antonio J. García All rights reserved.
Placing just a couple of conditions on a situation can prompt lots of creativity. Yet for improvisers, a two-chord progression sometimes proves to be a curse that forces them to repeat limited material in an endless rut. How can you maximize your options?
Let’s take a common progression: Dm7 to Bb7. You can find it in Bernie Miller’s “Bernie’s Tune” (made well-known by Gerry Mulligan and more), at the transitional eighth to ninth bars of a D minor blues, or as a vamp in countless other compositions. What are your options for approaching these two chords harmonically and melodically as a soloist? Dm7 • Pick an appropriate minor scale. D Dorian minor (D to D in the key of C, all naturals) might be an initial reflex. • What if you preferred one flat? Then D Aeolian minor (key of F).
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• • • • •
Or two flats? D Phrygian minor (key of Bb). Melodic minor? Harmonic minor? Bluesy? The D blues scale works great. Diminished? The D whole-half diminished scale combines the flavors of several other scales, including blues and melodic minor.
Let’s talk arpeggios. Consider the chord as extended upwards: Dm7 could become Dm11 (D-FA-C-E-G), for example, offering you possibilities. A great way to look at any minor chord differently is to examine it as if you were taking the same or related tones but calling the root of the chord the current third (F), fifth (A), seventh (C), ninth (E),
focus session or even the eleventh (G) or thirteenth (B). So using our D minor chord of DF-A-C (and potential extensions E, G, and B), let’s consider: • Viewing the Dm7’s third as a root of a chord of similar tones: Fmaj7 (F-A-C-E) or Fmaj9 (F-A-C-E-G) or even extending to Fmaj9(#11) (F-A-C-E-G-B). If you improvised over the Dm7 chord while thinking of it instead as an F major chord, you’d probably come up with different lines to play, conceptualizing out of an F major scale (including a Bb) or F Lydian scale (including a B natural). • Viewing the Dm7’s fifth as a root of a chord of similar tones: Am7 (A-C-E-G) or Am9 (A-C-E-G-B) or even extending to Am11 (A-CE-G-B-D). If you improvised over the Dm7 chord while thinking of it instead as an A minor chord, your lines would likely stem from A Aeolian (with a B natural), A Phrygian (with a Bb), or even A melodic or harmonic minor. And what happens if you solo using A melodic minor, tossing in those F#s and G#s? You’ll find that if you stick with that tonal group to create tension and then release it into the more consonant tones of D minor, you’ll create great drama that you’ll never find if you stick to D minor ideas all night. • Viewing the Dm7’s seventh as a root of a chord of related tones:
Cmaj7 (C-E-G-B) or Cmaj9 (CE-G-B-D). If you improvised over the Dm7 chord while thinking of it instead as an C major chord, your lines would likely stem from a C major grounding. What happens if you solo conceptualizing Cmaj9(#11), tossing in those F#s for a C Lydian sound? Again, if you deliver your tonal group with determination and then drop into the pocket of consonant Dm7 tones, all will not only be forgiven but enjoyed! Viewing the Dm7’s ninth as a root of a chord of related tones: Em (EG-B). If you improvised over the Dm7 chord while thinking of it instead as an E minor chord, you’d be grouping the D minor chord’s extensions (ninth, eleventh, and thirteenth) in one colorful bundle. Arpeggiate that triad for a great sound. With that approach, your lines would probably come from E Phrygian (with B natural) or E Locrian (with one flat). And if you like the E Locrian, you could also experiment with its cousin in the same key, C Mixolydian; but I admit I like the tonal grouping of E Locrian over a D minor sound more than I like the C Mixolydian. What happens if you solo thinking of Em9, tossing in those F#s within a key of G major? We’ve been there already. Same if you
think E melodic or harmonic minor: it’s all tension and release, but now grouped in a sonically clear manner. Viewing the Dm7’s eleventh as a root of a chord of related tones: G7 (G-B-D-F). If you improvised over the Dm7 chord while thinking of it instead as an G dominant chord, you’d be focusing on G Mixolydian. I admit it’s not my favorite choice, but it fits. Viewing the Dm7’s thirteenth as a root of a chord of related tones: Bm7(b5) (B-D-F-A). If you improvised over the Dm7 chord while thinking of it instead as an B half-diminished chord, you’d be targeting B Locrian, which I like quite a lot!
Now let’s take a similar approach with the Bb7 chord. Bb7 • Pick an appropriate dominant scale. A typical first reaction would be Bb Mixolydian (Bb to Bb in the key of Eb, yielding three flats). • What if you preferred to be a bit brighter in sound and chose Bb Lydian-Mixolydian (keeping the Bb and Ab, but raising the Eb to E natural)? This implies that you’re anticipating the sound of the ninth of the Dm7 chord (E) coming up. (The Lydian-Mixolydian
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JAZZed September 2011 51
scale also happens to be the same as the fourth mode of F melodic minor.) • Bluesy? The Bb blues scale works fine. • Diminished? The Bb half-whole diminished scale works great (and happens to be the same notes as the D whole-half diminished scale above). Now let’s take the arpeggio approach. Consider the chord as extended upwards: Bb7 becomes Bb9(#11) (Bb-D-F-Ab-C-E). Then examine it as if you were taking the same or related tones but calling the root of the chord the current third (D), fifth (F), seventh 52 JAZZed September 2011
(Ab), ninth (C), or even the raised eleventh (E). These are new options to consider for your mindset so that you don’t just play the same old Bb-dominant ideas all day! • Viewing the Bb7’s third as a root of a chord of similar tones: Dm7(b5) (D-F-Ab-C) or Dm9(b5) (D-F-AbC-E). If you improvised over the Bb7 chord while thinking of it instead as this D half-diminished chord, you’d be thinking of that D whole-half diminished scale we played over the Dm7 chord: common ground! • Or perhaps, still thinking of Dm7(b5), you’d reach for the D
Locrian scale (D to D in the key of Eb). Sure, it’s the Eb major scale; but now you’re emphasizing different tones within it. Viewing the Bb7’s fifth as a root of a chord of similar tones: Fm(maj7) (F-Ab-C-E) or Fm9(maj7) (FAb-C-E-G) or even extending to Fm11(maj7) (F-Ab-C-E-G-Bb). If you improvised over the Bb7 chord while thinking of it instead as an F minor-major chord, your lines would likely stem from F melodic minor, giving the sound a bit different gravitational center (and setting up the Fm as a ii chord in a ii-V progression completing with
focus session •
the original Bb7 chord). And the F melodic minor scale is the same notes as the fifth mode of Bb Lydian-Mixolydian! Viewing the Bb7’s seventh as a root of a chord of related tones: Abmaj9(#5) (Ab-C-E-G-Bb). If you improvised over the Bb7 chord while thinking of it instead as an Ab major chord with a raised fifth, you’ll invoke a fresher sound. The option including a Db is the third mode of F harmonic minor! If you decide instead in favor of a D natural, you create an Abmaj9(#5#11) (Ab-C-E-G-BbD). The raised eleventh (or fourth) of the Ab chord is simply the third of the original Bb7 chord—but you’ll probably approach it differently, since now you’ll be blowing on the third mode of F melodic minor (or the seventh mode of Bb Lydian-Mixolydian)! Viewing the Bb7’s ninth as a root of a chord of related tones: a C triad, for starters (C-E-G). If you improvised over the Bb7 chord while thinking of it instead as an C major chord, you’d be grouping the chord’s extensions (ninth, raised eleventh, and thirteenth) in one tasty grouping: try arpeggiating it over the original Bb7 chord! What if you solo thinking of C7(#5) (C-E-G#-Bb) or C9(#5) (C-E-G#-Bb-D)? Try the C melodic major scale—more commonly known as the fifth mode of F melodic minor (or the second mode of Bb Lydian-Mixolydian), as it includes E natural but also Ab and Bb. And now you’re really focusing on the upper extensions of the Bb7 chord! You’ll probably try out the C whole-tone (or augmented) scale; and we’ve already learned that tossing in an F# can be a great color over the original Bb7. You can go even further with a dominant chord and view the Bb7’s raised eleventh as a root of a chord of related tones: an
Em7(b5) chord (E-G-Bb-D). Arpeggiate that over Bb7 for a great sound. If you improvised over the Bb7
chord while thinking of it instead as that Em7(b5) (or half-diminished) chord, your best bet might be the E Locrian scale (E to E in
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the key of F)—though it will toss in an A natural that will sound best if continuing to ascend to the Bb. The F major scale never sounds so unique as when you play it from the standpoint of its seventh— and doing so over the original Bb7 chord drives the emphasis on its raised eleventh: the E natural.
chord. I’ll organize the D minor column on the left, starting with ascensions of the tones of a Dm13 chord (D-F-A-C-E-G-B). Bb7 sounds fill the right column, plus some shared possibilities occupy the column in between. You have a lot more options now than blowing all day on D Dorian and Bb Mixolydian!
A Matrix Let’s summarize our options so far by creating a column under each
Common and Uncommon So, looking back over all the choices so far, I have two questions for you:
focus session •
If you were to pick a scale for the Dm7 that would require the least accidentals added or subtracted in order to be consonant when the chord changed to Bb7, what would that scale be? It would allow you to focus on the common tones shared by the two chords, promoting a unified core of sounds while freeing your mind to focus on melodic development. My vote would be for D Aeolian minor, which cleanly fits the Dm7 chord (key of F major) and then needs only an Ab substituted for the A natural to lock into the Bb7 chord (as a Bb Lydian-Mixolydian sound). A great in-between choice would be the C major scale: it fits the Dm7; and adding Bb and Ab yields that Bb Lydian-Mixolydian sound for the Bb7 chord. Conversely, if you were to pick one scale for each chord that would require the most shifting of accidentals in order to be consonant when the chord changed, what would those two scales be? They would allow you to display the widest disparities between the two chords, training your lines on the differences within your melodic thoughts. If we leave out the more extreme options for the Dm7 (such as Em9, or the A and E melodic and harmonic minor colors), my suggestion might be the D Dorian for the Dm7 chord, followed by the Bb blues scale for the Bb7 chord, requiring four chromatic inflections from one chord to the other.
Chromatics Of course, there are no rules: you can play any note over any chord. And there’s lots of logic in sequencing anything you play by going up or down a half-step from your original idea. That move alone triples the matrix of possibilities! The colors are there, but the choices are up to you as you create new, improvised melodies.
For more information regarding basic chord symbols and their meaning, see the author’s “Clear Chord Symbols,” DownBeat, Vol. 66, No. 10, October 1999. For more regarding a chromatic approach, see “Thematic Dissonance: No Wrong Notes!,” Jazz Educators Journal, International Association of Jazz Educators, Vol. 23, No. 3, Spring 1991. Both works are also freely available at the “articles” section of the author’s Website: www.garciamusic.com Antonio J. García is an associate professor of music, director of jazz studies and formerly the coordinator of music business at Virginia Commonwealth University. His book with play-along CD, Cutting the Changes: Jazz Improvisation via Key Centers (Kjos Music) offers musicians of all ages standard-tune improv opportunities using only their major scales. He is associate jazz editor of the International Trombone Association Journal, past editor of the IAJE Jazz Education Journal, network expert (Improvisation Materials) for the Jazz Education Network, co-editor and contributing
author of Teaching Jazz: A Course of Study, IAJE-IL past-president, and past IAJE International co-chair for Curriculum and for Vocal/Instrumental Integration. A trombonist, pianist, and avid scatsinger, he has performed with such artists as Ella Fitzgerald, Dave Brubeck, George Shearing, Mel Tormé, Louie Bellson, and Phil Collins. His music has merited grants from Meet The Composer, The Commission Project, and The Thelonious Monk Institute, with originals published by Kjos, Kendor, Doug Beach, Walrus, UNC Jazz Press, and Three-Two Music. Tony is a board member of The Midwest Clinic, a Conn-Selmer trombone clinician, a former coordinator of the Illinois Coalition for Music Education, has presented instrumental and vocal jazz workshops in the U.S., Canada, Europe, South Africa, Australia, and The Middle East, is a widely published author in a dozen jazz and education periodicals, and is a past nominee for CASE “U.S. Professor of the Year.” He is also the subject of an extensive interview within Bonanza: Insights and Wisdom from Professional Jazz Trombonists (Advance Music).
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JAZZed September 2011 55
Benny Goodman is Mobbed at the Paramount BY JOHN R. TUMPAK©
The following is an excerpt from John R. Tumpak’s book, When Swing Was the Thing: Personality Profiles of the Big Band Era, published by the Marquette University Press.
f presented with the hypothetical Trivial Pursuit question, “Who preceded Michael Jackson, the Beatles, Elvis Presley and Frank Sinatra as the first musical artist to cause fan pandemonium at a concert?” what would your answer be? Surprisingly, the correct answer that stems not from the Rock Era, but the Big Band Era, is Benny Goodman. That’s right, Benny Goodman, the bespectacled, reserved, jazz clarinetist from Chicago’s Jewish ghetto. In fact, it was on March 3, 1937, that the opening of Goodman’s historic engagement at the Paramount Theater in Times Square caused the sold out predominantly teenage audience to go wild and dance in the aisles. A series of events that combined to cause the bedlam at the Paramount began in August of 1935 when Goodman launched the Big Band Era at the Palomar Ballroom in Los Angeles. This appearance made him our first popculture hero and the world’s most famous bandleader. After his sensationally successful Palomar stint ended in October 1935, Goodman headed home to Chicago for a six-month appearance starting in November at the Urban Room of the Congress Hotel, returning to the Palomar in Los Angeles for a two-month engagement in the summer of 1936. While at the Palomar he topped his previous success at the ballroom, made his first movie, “The Big Broadcast of 1937,” and began broadcasting on the popular CBS “Camel Caravan” radio show.
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watershed moments September found Goodman playing at the Steel Pier in Atlantic City, NJ. It was at the Steel Pier where Goodman discovered a powerful trumpeter by the name of Harry Finkelman playing in the house band lead by Alex Bartha. He hired Finkelman, better known as Ziggy Elman, on the spot. The band then moved on to New York, opening on October 1, 1936, for a long term run at the Madhattan Room of the Hotel Pennsylvania on Seventh Avenue across from Pennsylvania Station. It is important to note that over the year and a half between his seminal 1935 appearance at the Palomar and through February of 1937 at the Madhattan Room, Goodman’s appearances were attended by adults and college students only. He did not perform before teenage audiences whose only opportunity to listen to Goodman was on the radio or records, thereby creating a pent-up demand to see The King of Swing in person. This demand would soon explode at the Paramount Theater in Manhattan. MCA’s Willard Alexander booked Goodman into the Paramount Theater at 43rd Street and Broadway for a two week engagement starting March 3, 1937. It was to be a demanding schedule, with the band continuing to play evenings at the Madhattan Room after five daily theater shows. The Paramount Theater revolutionized the movie business when, over the Christmas holidays of 1935, manager Bob Weitman introduced a policy of alternating a well known band with a feature film. The first band to play the new format was the Casa Loma. Weitman also installed a rising orchestra bandstand that ascended from the basement like an elevator, coming to rest in the orchestra pit in front of the stage. One of the more dramatic experiences of the Big Band Era was to attend the Paramount and hear a band’s theme song grow louder and louder while the bandstand rose with the musicians slowly coming in to view. By the time the band arrived at the Paramount at 7:00 a.m. to rehearse before the opening show, there were several hundred youngsters lined up on Broadway from 43rd to 44th Streets, and
around 44th Street to Eighth Avenue. It is purported that they were boisterously dancing, shouting and lighting fires to keep warm. When the featured film, “Maid of Salem” staring Claudette Colbert, came to an end it was time for Goodman’s first set. As the bandstand started to rise, Good-
man gave the count for the band’s opening theme “Lets Dance.” As they came into view, they were met with a thunderous applause combined with shouting and whistling. The equivalent of an electrical shock occurred when the band swung into its first selection, the killer-diller “Bugle Call
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Rag.” The audience immediately cheered, screamed, crowded the bandstand, and started jitterbugging in the aisles. History was officially made as the first mass hysteria at a musical event took place. Twenty-one thousand young fans from throughout New York saw the first day’s five shows buying a record nine hundred dollars’ worth of nickel candy bars. This uninhibited emotional outburst continued throughout the engagement that was extended for a third week with the kids actually starting to climb on stage to jitterbug. The band’s stay would have been longer if they had not had other commitments. Historically, there are two aspects of Goodman’s Paramount engagement that have received little recognition. First, black patronage at Goodman’s performances increased five hundred percent, shooting from a normal three percent to fifteen percent of the audience. This acceptance of Goodman’s music by the black community helped pave the way for white bands to appear in Harlem.
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In fact, by the late 1930s Charlie Barnet broke opening-day records at the Apollo Theater and at a Christmas Eve appearance Glenn Miller shattered the Savoy Ballroom attendance record set by none other than Guy Lombardo. Second, the Paramount marked the official entry of teenagers into the paying customer ranks at big band events. Starting with Paul Whiteman’s 1920 engagement at the Palais Royal in New York City that many say marked the beginning of the jazz age, dance band performances were attended by adults only at night clubs. Starting in the early 1930s, the paying customer base expanded to include college students at locations such as the Glen Island Casino in New Rochelle, NY. Goodman ushered in a whole new box office era as young adults became an important source of revenue at live big band appearances. Every era has its historical milestones, and certainly a major milestone of the Big Band Era was Benny Goodman’s 1937 Paramount engagement that set
the stage for a new standard of permissible audience involvement at musical events. Bobby-soxers in the 1940s swooning over Frank Sinatra, rock and rollers in the 1950s screaming at Elvis Presley, teenyboppers in the 1960s mobbing the Beatles, and today’s MTV generation have Goodman to thank for making frenzied fan participation over their favorite musical artists an acceptable form of expression in our American society. Young popular music followers owe a debt of gratitude to Benny Goodman, a true musical pioneer.
© Marquette University Press John Tumpak is a jazz journalist and lecturer who is dedicated to the music and cultural history of the Big Band Era. His book, When Swing Was the Thing: Personality Profiles of the Big Band Era, contains profiles of forty nine Era personalities, most of whom he personally interviewed. The book can be ordered on Amazon or through the Marquette University Press at (414) 288-1564.
N O R T H W E S T E R N U N I V E RS I T Y
Transforming tradition www.music.northwestern.edu 847/491-3141
Bienen School of Music
Jazz Faculty Victor Goines, program director; jazz saxophone and clarinet Carlos Henriquez, jazz bass Willie Jones III, jazz drums Christopher Madsen, composition and arranging Peter Martin, jazz piano Bradley Mason, jazz trumpet Elliot Mason, jazz trombone John P. Moulder, jazz guitar
The Chitlin’ Circuit Compiled by AAJC Executive Director, Dr. Larry Ridley. The early genesis of the evolution of jazz and the performance venues for musicians in segregated African American communities was marked by some with the affectionate title “the Chitlin’ Circuit”. The cities employing the musicians stretched across the United States from East to West and North to South. One of the outstanding venues that offered African American jazz musicians employment on the circuit existed in Wilmington, North Carolina. The following historical treatise written by Mr. Larry Reni Thomas in 2002 provides readers with a window into that time.
in the bathroom while shaving. At the time she didn’t think much of it to see all those famous people in her house. But later, when she became an adults she realized how blessed she was to have been in the presence of such well-known musicians. She also remembered that most THE BARN, Wilmington, North Carolina of the people in the community Copyright © 2002, Larry Reni Thomas, “CAROLINA JAZZ CONNECTION”. looked forward to seeing the bands come to town and she smiled when During the 1940s and the 1950s, when jazz music was as hot as hip-hop she talked about the excitement is today, Wilmington, N.C. was the place where jazz giants like Cab Calthat was in the air once the word loway, Lionel Hampton, Count Basie, Dizzy Gillespie and Louis Armstrong got out that a good band was comperformed at a local jazz club and ballroom called The Barn. It was located ing to Wilmington. “My grandfather at 1020 South 11th Street, between Meares and Wright Streets, and was was a master promoter,” she said. owned and operated by the late Mr. and Mrs. Charles Whitted. “He knew another promoter in The Barn was a place where folks dressed up for a swinging night on the Kinston who would have the same town and where they went to see the big bands that were extremely popular bands at his place. They would during the World War II years. It was called The Barn because it resembled both book the bands and promote a tobacco barn and was large enough to hold some 2,000 people. There was them together. I was so proud of him because he “At first, the blacks and the whites were was a pioneer in the field of promoting. He would separated by what was called ‘an imaginary travel all over the region, line,’ but once the bands got hot and the music from town to town, nailing was swinging, the dancers, black and white, up posters and handing out leaflets. He was really forgot all about that foolishness and hit the a good promoter.” dance floor together and danced!” Mr. Whitted was also a keen talent scout who a large dance floor, a big bandstand, bars and several rooms for private parknew what bands to bring to the ties. It was the place to be on a weekend night in Wilmington if you were area. He made contact with promiyoung or young-at-heart and if you were a jazz lover. nent New York agents, like Joe “Lionel Hampton was a regular,” said Mrs. Gerrie Lemon, the Whitted’s Glaser, who help supply him with granddaughter, during a recent interview. “So was the Buddy Johnson Big first-class acts like Armstrong and Band, Louie Jordan and Louie Armstrong. They would play the Barn at Hampton. He was also blessed to least once a year. My grandfather liked the big bands. He liked the 18-piece have the Lumina, a large dance hall bands plus a vocalist. He liked to see them all on the stage – and it was big. on Wrightsville Beach in the area. And we had dressing rooms on either side of it. And beside that it had a pit. Nearly all of the groups played at You could dance behind there too.” the Lumina, an all-white establishLemon said that her grandfather added rooms to the structure because ment one night and the Barn the during that time blacks couldn’t go to the local hotels or motels. Sometimes next night. they stayed at the Whitteds’ residence. Mrs. Lemon recalled waking up one The late John Birks “Dizzy” morning when she was a little girl hearing Billy Eckstine singing to himself Gillespie, the legendary trumpet
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jazzforum player, remembered playing at the Lumina and the Barn during the 1940s and 1950s. He made those observations when he played at Thalian Hall several years ago. He said that they also looked forward to playing the Barn because that was where they had more fun and played a great deal better because they loved to see the people dance. Jimmy Heath, the great saxophonist who is a former Wilmington resident and a 1943 graduate of Williston High School, recalled playing at the Barn about a year after he graduated from high school. “I was playing with the Nat Towles big band then,” he said, during a recent interview at his Queens, N.Y. residence. “We passed through Wilmington on a tour. The Barn had gotten a name as the place where big bands thrived, where the good times rolled and where the daring dancers performed their feats. The place was known for great dancers and that is one of the things that really fires a musician up – good dancers. It was quite a thrill for me because I had gone to high school in Wilmington and knew what the Barn represented. I mean, all the great big bands that were popular at that time played there.” Mr. Heath, a Philadelphia native, left Wilmington for the city of brotherly love shortly after he graduated from Williston. He has performed with Dizzy Gillespie, John Coltrane, Miles Davis, The Heath Brothers and other jazz greats. He has had a long career in jazz performance as well as jazz education and is a retired professor of music at Queens College in New York. Heath recently received an honorary doctorate from the
prestigious Juilliard School of Music, making him the first and only jazz musician to get that honor. He is scheduled to perform here at a benefit for a research project on The Barn, October 14, 2002, at The Town Hall. There has never been a complete study nor is there much documentation on the Barn. What this article seeks to do is whet the reader’s appetite in order that we can begin to let the world know about the Barn and how much of a social and cultural impact it had on the community. One of the most interesting facts uncovered in this author’s research of the Barn and its activities is that white people came to dance at the Barn. At first the blacks and the whites were separated by what was called “an imaginary line,” but once the bands got hot and the music was swinging, the dancers – black and white – forgot all about that foolishness and hit the dance floor together and danced! This had to be one of the earliest examples of integration in Wilmington and is a testament to how positive music is, especially jazz music, which the legendary band leader and composer Duke Ellington called the “great equalizer.”
DownBeat Magazine, the New York Times Magazine and numerous other leading publications. Mr. Thomas considers himself foremost as a “gentleman, scholar and a servant of the people”. He is a leading historian/lecturer chronicling the history of Jazz in North Carolina and its many innovators who were born there, (e.g., John Coltrane, Max Roach, Thelonious Monk, Lou Donaldson, Nina Simone, Percy Heath, Skeeter Best, Tina Brooks, Tal Farlow, John Malachi, Pee Wee Moore, Red Prysock, Woody Shaw, Tab Smith, Grady Tate, Dr. Billy Taylor, etc.). Mr. Thomas’s treatise is archived at: http://carolinajazzconnectionwithlarrythomas.blogspot.com
Larry Reni Thomas was born in Wilmington, N.C. in 1950 and reared there. He has an M.A. degree from the University of North Carolina Chapel Hill and has further studied at UNC’s School of Journalism. Mr. Thomas is a 30-year veteran writer/radio announcer based in Chapel Hill, N.C. He has taught at Shaw University, a Historically Black College/ University (HBCU). Mr. Thomas has worked “on air” at seven radio stations. His journalistic work has appeared in
JAZZed September 2011 61
Crossword by Myles Mellor 2
1. “One O’Clock Jump” was one of his theme songs 4. Charles ___ Bolden 7. See 22 down 9. Big smooth jazz first name 10. First name of the leader of Original Dixieland Jass Band 11. One man band song 12. Popular 13. The Crusaders album, Chain ____ 16. ___ Rivers and the RivBea Orchestra 18. Escort’s offering 20. A note to follow so 21. “Weather Bird” was on of his Grammy award winning recordings 25. He recorded “It’s On Tonight” ____ Culbertson 27. ___ dance 28. Stringed instrument 29. “Chicago” lyricist 31. Put on fire 33. Smooth 34. George Freeman’s album, _______ George (3 words) 38. Oliver Nelson piece from his album The Blues and Abstract Truth
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39. One type of jazz 41. Blew gently, as sound in a jazz club perhaps 42. Aka John Birks 43. “___ Time Goes By”
1. He played a trumpet solo in Elvis Costello’s “Shipbuilding” 2. Jazz composer known for his “cosmic philosophy” (2 words) 3. Piece recorded by 2 down and composed by Salah Ragab (2 words) 4. Stringed instrument 5. British tenor sax player, ___ Morissey 6. Hello! 7. 70s TV Mini Series whose score was written by Gerald Fried and Quincy Jones 8. “King of Swing” 11. Very 12. First name of the artist who recorded “Rockit” 14. Musical talent 15. Oui’s opposite 17. According to (2 words) 19. __ Bojangle 21. One of jazz’s finest clarinetists (2 words)
22. Scott Joplin classic (goes with 7 across) 23. Harmonic with a frequency that is a multiple of the fundamental frequency 24. Valentin ____, who performed with Carlos Bica and his project DIZ, exploring new ways in Fado Jazz 26. Rocks at the bar 30. A brew from Miles? 32. Stylish 35. Puerto Rican double bassist, “Eddie” ____ 36. Basic matter, unit 37. “I ____ Jazz” Louis Armstrong 40. 50th state
For the For the to solution solution to this issue's this issue's crossword, crossword, visit: visit:
HotWax September 13
Various Berklee College of Music Artists - Octave (Jazz Revelation
Wynton Marsalis and Eric Clapton – Play the Blues Live at Lincoln
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Marcus Strickland – Triumph of the Heavy Vol. I and II (SMK)
Jacques Loussier Trio – Schuman:
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October 18 McCormack & Yarde Duo – Places and Other Spaces (Edition)
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October 11 New West Guitar Group – RoundTrip Ticket (Summit)
Oscar Perez Nuevo Comienzo –
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Gearcheck Michael Pluznick Shows You How to Play Afro-Cuban Congas
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A Cool Approach to Jazz Theory: A Step by Step Guide to Improvising with Scales, Chords and Progressions New York saxophonist and flautist Erika von Kleist introduces her first instructional book, a tool designed to help kids of all ages learn the basic concepts behind jazz harmony. Kleist uses a step-by-step lesson plan on how to play chords on any instrument and decipher their symbols, understand progressions, and create improvised melodies that fit the harmony of a song. Students with intermediate ability on any instrument, know some major scales and the chromatic scale, and have had an introduction to jazz are great candidates to tackle the material in this book. www.jazztheoryiscool.com
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9/23/11 11:44 AM
Frank Foster 1928-2011
Frank Foster, the beloved tenor and soprano saxophonist, flutist, arranger, and composer, passed away on July 26, 2011. Perhaps best known for work throughout the years with the Count Basie orchestra, Foster composed the song “Didn’t You?” on Basie’s classic album, April in Paris. Foster was born in Cincinnati, Ohio and grew into the jazz scene after moving to Detroit, where he learned to play before getting drafted into the Army to serve in the Korean War. Foster won two Grammys during his career and was awarded the NEA Jazz Master grant in 2002. His archives are housed at Duke University’s Jazz Archive. He led groups including Living Color and The Loud Minority, eventually succeeding Thad Jones to lead Count Basie’s Orchestra. Foster was also a dedicated educator, teaching at New York public schools in Harlem and as a professor of Black Studies at State University of New York at Buffalo.
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SAVE THE DATE
THE 3RD ANNUAL
JEN CONFERENCE January 4-7, 2012 Developing Tomorrow’s Jazz Audiences Today! In the immortal words of one of jazz’ most notable innovators, LOUIS Satchmo Armstrong…
To Jazz or not to Jazz… There is no question!
Call it what you want, but by chance, through karma, serendipity, destiny, fate, providence, or luck…we are proud to announce the Third Annual JEN Conference in yet another city with LOUIS in the title... LOUISville, Kentucky… We think Three’s a CHARM! Come experience all Louisville has to offer, as we will be collectively Developing Tomorrow’s Jazz Audiences Today!
The Jazz Education Network
is dedicated to building the jazz arts community by advancing education, promoting performance, and developing new audiences. For complete membership information/beneﬁts please visit us at: www.JazzEdNet.org
START ACADEMY SERIES OF SOMETHING BIG.
The Ultimate Entry Level Instrument Starting at $895. The Xstand adjusts to 3 playing heights and locks securely into place to safely cradle the instrument. Easy to move with built-in carry handle.
Academy Series brings the World renowned quality and sound of Adams to the student percussionist. Available in a 3.0 octave marimba and a 3.5 octave xylophone for school or home use. Adams All New Academy Series maximizes the learning experience with quality from the very ďŹ rst note. Adams Academy Series is The Start of Something Big.
AMPD30 3.0 Academy Padouk Marimba
AXLD35 3.5 Academy Light Rosewood Xylophone
Please scan the QR Code to learn more about Academy Series.
www.pearldrum.com Adams Instruments are proudly distributed in the U.S. by Pearl Corporation